Dancers to Post-Performance Careers

Making Changes

FACILITATING THE TRANSITION OF DANCERS TO POST-PERFORMANCE CAREERS

BY WILLIAM J. BAUMOL JOAN JEFFRI DAVID THROSBY

Research Report Making Changes

FACILITATING THE TRANSITION OF DANCERS TO POST-PERFORMANCE CAREERS

RESEARCH REPORT

BY WILLIAM J. BAUMOL, JOAN JEFFRI AND DAVID THROSBY

WITH SUBSTANTIAL ASSISTANCE FROM SUE ANNE BATEY BLACKMAN, VIRGINIA HOLLISTER, ANNEMARIE SCHOEPFER AND LAUREN TEHAN RESEARCH DIRECTOR Joan Jeffri ADVANCE BOARD, SUPPORT & CREDITS

ADVISORY BOARD ADVANCE BOARD William J. Baumol Philippe Braunschweig, Co-Chairman and David Throsby Harvey Lichtenstein, Co-Chairman Paul Bronkhorst Deborah Bull RESEARCH TEAM AND STAFF Michael Byars William J. Baumol, New York University and Princeton Alexander J. Dubé University Andrew Holland Joan Jeffri, Teachers College, Columbia University Kevin McKenzie David Throsby, Macquarie University Garry Neil Sue Anne Batey Blackman, Princeton University Annemarie Parekh Cheryl Carnahan, Consultant Stephen Pier Virginia Hollister, Macquarie University Linda Yates Annemarie Schoepfer, Teachers College, Columbia University ADVANCE PROJECT SUPPORTERS Lauren Tehan, Teachers College, Columbia University AEA Consulting Altria Group, Inc RESEARCH PARTNERS (SURVEY) Andrew W Mellon Foundation Joan Jeffri, Teachers College, Columbia University, U.S. Arts International Adrian Schriel, Tanz Ensemble Cathy Sharp, Switzerland Bank Juliius Baer David Throsby, Macquarie University, Australia Career Transition for Dancers (U.S.) Caroline H Newhouse DATA PARTNERS (COUNTRY PROFILES) Consul General of Switzerland Paul Bronkhorst, Dutch Retraining Program for Professional Dancer’s Career Development (U.K.) Dancers and International Organization for the Transition Dance Magazine of Professional Dancers, Netherlands Dancer Transition Resource Center (Canada) Keiko Fukui, Geidankyo, Japan Dance USA Pia Hartmann, Hartmann Nagel Art & Consulting, Germany Doris Duke Charitable Foundation Joan Jeffri, Teachers College, Columbia University, U.S. Dutch Retraining Program for Professional Dancers Claire McCaughey, The Canada Council for the Arts, Ernst C. Stiefel Foundation Canada Howard Gilman Foundation Pierre-Michel Menger, Centre National de la Recherche International Organization for the Transition of Professional Scientifique, France Dancers (IOTPD) Gabriela Medina, La Manga Dance Company, Mexico Monaco Dance Forum Annemarie Parekh, Pro Helvetia, Arts Council of Nathan Cummings Foundation Switzerland, Switzerland National Endowment for the Arts Andrew Princz, ontheglobe.com, Hungary The Rudolf Nureyev Foundation Annemarie Schoepfer, Teachers College, Columbia Princess Grace of Monaco Foundation University, U.S. Pro Helvetia, Arts Council of Switzerland Adrian Schriel, Tanz Ensemble Cathy Sharp, Switzerland Reed Foundation Jeanette Siddall, Arts Council England, U.K. Rolex Corporation Joysanne Sidimus, Dancer Transition Resource Centre, Sage Cowles Canada Swiss Federal Office of Culture Lauren Tehan, Teachers College, Columbia University, U.S. UNESCO David Throsby, Macquarie University, Australia Published by The aDvANCE Project. New York, NY. 2004 MANAGEMENT AND FUNDRAISING Adrian Ellis, AEA Consulting Copyright © Trustees of Teachers College Columbia Jeanne Bouhey, AEA Consulting University in the City of New York / Research Center for Libby McNeece, AEA Consulting Arts and Culture, 2004. www.aeaconsulting.com The aDvANCE Project logo and book designs: Lost In Brooklyn Studio www.lostinbrooklyn.com SPECIAL THANKS

Special thanks to all of the current and former dancers and professionals in the dance field who care about transition and without whom this report would not have been possible. PREAMBLE

We are pleased to present the results of what we believe to be the first study of its kind, a coordinated inquiry into the career transition of professional dancers in different countries. In total, eleven countries were included in this study. Sample surveys were undertaken in three countries to provide insights into the challenges of career change as seen from the viewpoint of the individual dancer, and country profiles were written in eight additional countries to illustrate further the global environment of dance. In addition, the four existing career transition centers contributed substantially to the Summary Statement by providing illuminating information derived from their data. TABLE OF CONTENTS

Summary Statement 1

Part One: 13 Facilitating the Transition of Dancers to Post-Performance Careers

I. Introduction: Dancers in Transition, the Challenge 15 II. Research Approach and Methods of the Study 19 III. The Dance Industry Worldwide: Highlights of Our Country Profiles 23 IV. Dancer Career Transition Programs and Practices 29 and The Four Transition Centers V. Facing Transition: The Situation of the Individual Dancer 45 (Survey of Three Countries) VI. Guiding Hypotheses and the Pertinent Evidence Collected 53 VII. Our Conclusions and Recommendations: 65 Some Promising Programs and Practices

Bibliography 73

Part Two: 79 Country Profiles and Ancillary Materials Socio-Economic Characteristics of Dance in Eleven Nations: Unabridged Country Profiles

I. Dance in Australia 83 II. Dance in Canada 107 III. Dance in England 117 IV. Dance in France 127 V. Dance in Germany 137 VI. Dance in Hungary 149 VII. Dance in Japan 155 VIII.Dance in México 163 IX. Dance in The Netherlands 177 X. Dance in Switzerland 185 XI. Dance in the United States 197

Appendix A: 217 Some Dancer Career Transition Programs Beyond the Four Formal Centers

I. Dance Companies: Transition Initiatives, Partnerships with 217 Universities, and Scholarships II. Dance Schools: Transition Preparation Programs 222 III. Service, Labor, and Membership Organizations: Transition Efforts 225 IV. Government Initiatives for Facilitating Dancers Transition 228 V. Other Programs that Facilitate the Transition of Dancers 230

Appendix B: 233 Survey Methods for Australia, Switzerland, and the United States

Appendix C: 237 Survey Questionnaire and Responses (Raw Data from Australia, Switzerland and the United States) WHY THIS REPORT?

There is an urgent need for measures to ameliorate the problems of transition faced by all professional dancers. Summary Only four countries—Canada, the Netherlands, the United Kingdom (U.K.), and the United States (U.S.)— are fortunate enough to have formal transition centers or Statement other transition measures in place, and these programs have made significant progress in helping many dancers in these countries deal with the challenges of career change. But more generally, it remains a fact that deter- mining what should be done is hampered by a lack of understanding of the problem, inadequate data, and the absence of an objective basis for systematic analysis of alternative strategies. At the initiative of the International Organization for the Transition of Professional Dancers (IOTPD), an international organization based in Switzerland, the present study has been undertaken by an international research team to assess the extent and nature of the challenges of the transition process, to gather factual evidence to test various propositions about the THE CHALLENGES OF TRANSITION effects of transition on the individual dancer, and to suggest ways in which the problems of transition may be Dance is a career that entails an extraordinarily high level addressed by dance companies, service organizations, of passion, commitment, extensive periods of training, public agencies, and dancers themselves. However, fuller and a professional life that is relatively brief, since many understanding of the issue and its scope requires recogni- dancers have to retire in their early thirties and some even tion of the fact that the problems of transition can differ earlier. Yet in most countries, dancers are among the most from one country to another. This report therefore explic- poorly paid of artists, despite their great contribution to itly adopts an international point of view in analyzing the the cultural life of society, and inadequate recognition problem and in making recommendations. often compounds their morale problems. For professional dancers reaching the end of their performing careers, this WHAT IS A DANCER? confluence of factors creates economic, psychological, and educational difficulties for which they are often ill- This study is concerned with professional dancers. It is equipped and which are likely to have a profound effect well known that the definition of “professional” in the arts on the rest of their lives. Having lived in a relatively is somewhat problematic, because a simple income test inward-looking and intensely focused world, they find that may be appropriate in most other professions cannot themselves suddenly cast out from the stimulus and sup- readily be applied to artists. Rather, we consider profes- port that the dance world provided. Our research indi- sionalism to derive from a combination of factors includ- cates that the skills and experience that professional ing a dancer’s training, career commitment, standard of dancers accumulate during their dancing years, including work, income and time allocation, and we acknowledge self-discipline, team work and stamina, are significant that precise definitions of professional status differ among and transferable resources that are in danger of being countries. wasted as their active dancing careers come to an end. Thus, inadequacy of career transition support not only In regard to dance forms, we distinguish among dancers creates significant challenges for individual dancers, but working in five broad categories: (1) classical/ballet, (2) also imposes a social cost in the form of wasted human modern/contemporary dance, (3) organized indigenous or capital. folk dance, (4) musical theater or commercial dance, and (5) “other,” a catch-all category that encompasses

The aDvANCE Project PG 1 (4) A series of three sample surveys of current and former SUMMARY dancers, undertaken in Australia, Switzerland, and the U.S. The results of these surveys provide invaluable dancers working in cinema, television, and other indus- insights into the challenges of career change as seen from tries (such as revues, fashion shows, cruise ships and cor- the perspective of the individual dancer in these coun- porate events), as well as less-organized forms of dance. tries. In all five of these categories, it is common to find individual dancers whose work spans more than one of the fields THE DANCE INDUSTRY WORLDWIDE at a given time or at different stages in their careers. Our individual national portraits comprising the country We adopt the conventional usage of the term “transition” profiles are made up of information on the broadly defined in this study to describe the career stage during which a dance industry in each country, including data on educa- dancer stops actively performing (often gradually) for rea- tional and training systems; public and private funding; sons of age, health, injury, or some other cause, and numbers of employed and unemployed professional moves to a new activity, whatever that may be. We use dancers; numbers of dance companies and institutions the terms “current” and “former” dancers to distinguish involved in dance; size and characteristics of audiences; between those who are still actively performing and those institutional structures; and methods of support for who are not. dancers (benefits, pensions, and so on). Highlights from these profiles include the following: OUR RESEARCH APPROACH • Most dancers in all eleven countries are female, and a This research project was composed of four distinct com- number move among countries in pursuit of their dance ponents: careers.

(1) A study of some fundamental hypotheses designed to • Dance is an important component of the performing throw light on effective methods for improvement of the arts, accounting for a total of about 33 million atten- transition process and of the institutions dedicated to this dances annually in the eleven countries we studied, with purpose. These hypotheses are outlined further below. the share of population attending dance events annually This portion of the study is designed to suggest and in the countries studied varying from less than 1 percent explore recommendations for further improvements in to approximately 15 percent. transition programs. • Although there are variations among countries, there (2) A series of eleven “country profiles” undertaken to has been significant growth in the dance sector in many illustrate the breadth of dance activity around the world countries over the last ten years, measured in terms of as a context for analysis of transition problems. Profiles numbers of dancers, numbers of dance companies, and were drawn up for Australia, Canada, England, France, audience size. Germany, Hungary, Japan, Mexico, the Netherlands, Switzerland, and the U.S. • There is a substantial amount of direct government funding of dance in all countries studied, except for the (3) A compendium of existing transition assistance pro- U.S., where public support is provided mainly indirectly, grams in various countries including, particularly, Canada, via tax deductibility of contributions to dance organiza- the Netherlands, the U.K., and the U.S., to assess the tions. present approaches that have been undertaken to meet the challenges of transition. Even more important for this • Dance is a poorly paid occupation compared to other study, these assessments also provide models for other professions, and although some dancers are fortunate transition programs and evidence of the effectiveness and enough to be able to work full-time, many are obliged to promise of the various approaches as they are currently take on other jobs in order to support their careers in carried out. dance.

PG 2 Making Changes EXISTING TRANSITION PROGRAMS CHALLENGES OF TRANSITION There are four major formal centers that provide career transition services for professional dancers: retraining, as well as counseling services, particularly career counseling. The program has recently been (1) Career Transition For Dancers (CTFD), with offices in redesigned to provide grants to dancers in transition to New York City and Los Angeles in the U.S., provides a cover study and subsistence expenses. wide range of career programs and services free of charge to assist in career transition for current and former These four existing career transition centers—in Canada, dancers. Since 1985, it has serviced more than 2,600 the Netherlands, the U.K. and the U.S—are independent dancers nationwide and has awarded more than $1.7 and specialized service organizations with a total of 90 million in educational and entrepreneurial grants. A fea- years of accumulated experience in the field of dance ture of CTFD’s orientation is its effort to help dancers career transition. The centers have all found the problems determine for themselves the steps they will take in their of dancers in transition to be remarkably similar, involving career transition and, by making its services dancer-driv- economic, psychological and educational issues that need en, CTFD seeks to encourage dancer initiative and inde- to be addressed. Over the years, each of these organiza- pendence. tions has developed a range of programs and services that focus on the different stages in a dancer’s career, and (2) The Dancer Transition Resource Centre (DTRC) in have provided integrated support that is individually tai- Canada is a membership organization that offers broad- lored to the needs of each dancer. based services to dancers on entering, during, and after their professional performing careers. Academic, career, What do differ from country to country are the methods of financial, legal, and personal counseling are offered to its addressing the problems. The kinds of assistance provid- constituents, as well as DTRC’s Dancer Award Fund that ed through the four career transition centers vary, depend- gives grants for skills courses, retraining and subsistence. ing on cultural differences, the type and amount of social, In addition, the DTRC provides information to the general health and educational support provided by government, dance community, offering a newsletter, website, other and the resources available to the transition centers and publications, conferences, and seminars. other career transition programs. Later in the report, we provide profiles of the four career transition centers, with (3) The U.K.’s center for career transition for professional details of their individual programs and services. dancers, Dancers’ Career Development (DCD), offers a wide range of practical, psychological and financial Two other organizations are noteworthy. The International retraining and career transition services for professional Organization for the Transition of Professional Dancers dancers, including educational advice, career coaching, (IOTPD) plays a significant leadership and advocacy role emotional counseling, résumé and interview guidance, in the field. The IOTPD’s main objectives are to help pro- grants for retraining, business start-up grants, and ongo- fessional dancers in the process of career transition and to ing support for professional dancers. The DCD Company promote awareness of the contribution the dancer makes Fund Division operates a scheme in cooperation with to society, the needs of the dancer during the transition dance companies, which contribute funds to be used to process, and the benefits of a successful transition to a assist their dancers in transition. Currently, nine British future productive career. And the Swiss Association for companies participate in this scheme. The DCD also the Career Re-orientation of Professional Dancers operates an Independent Trust Division that supports (NPT/RDP) provides career counseling and training as independent dancers and dancers in the commercial sec- well as financial support for unemployed workers, includ- tor, funded through grants and fundraising activities. ing dancers in transition, in Switzerland.

(4) The Dutch Retraining Program for Professional In addition to these programs, a number of dance compa- Dancers (Stichting Omscholingsregeling Dansers, [SOD]) nies and dance schools around the world provide transi- provides services to dancers in career transition in the tion services specifically tailored to their own needs. Netherlands. Dancers pay a small monthly contribution to Examples include companies such as the Birmingham the program, which offers income support and grants for Royal Ballet (U.K.), the Houston Ballet (U.S.), the

The aDvANCE Project PG 3 • The great majority of current dancers claim to be aware SUMMARY of the challenges that transition will pose (98 percent, 86 percent, and 93 percent in the U.S., Switzerland, and Nederlands Dans Theater (Netherlands), the Opéra Australia, respectively), but many former dancers concede National de Paris (France), the New York City Ballet that they were in fact ill-prepared for this process (U.S.), the Pacific Northwest Ballet (U.S.), the Escuela del Ballet Folklórico de México de Amalia Hernández • Many current dancers see continuing to work in dance (México), and schools like the Arts Education School as a preferred post-transition option (26 percent, 51 per- (U.K.), Boston Ballet School (U.S.), and St. Mary’s cent, and 48 percent of dancers in the U.S., Switzerland, College of California, School of Extended Education and Australia, respectively). In practice, in all three coun- (U.S.), among a number of others. Such programs provide tries, the most likely way in which continuing contact with a wide variety of career transition assistance for dancers, dance has actually been achieved by dancers post-transi- including support for training, job search, and information tion is through employment as dance teachers, although provision. this has not always afforded the most satisfaction. In all three countries studied, considerably more than half of THE CIRCUMSTANCES AND VIEWPOINTS OF former dancers have been engaged in some teaching of INDIVIDUAL DANCERS dance in their subsequent careers.

The survey of dancers in Australia, Switzerland, and the • It is also noteworthy that the number of dancers U.S., undertaken as part of this study, provide a picture of remaining in the dance profession is reported to be signif- transition challenges from the viewpoint of the individual icantly lower among those former dancers who have dancers. While we received few responses to our survey availed themselves of the programs of the formal career from indigenous/folk dancers, we did receive responses transition centers. Data from the transition centers sug- from dancers in the other dance categories listed above. It is also important to note that the great majority of the gest that no more than some 10 to 15 percent of their questions in our survey are independent of whether a for- clients prefer a dance-related career and that those clients mal career transition center or other transition arrange- do succeed in careers in other fields. ments exist in the country surveyed. Thus, to the extent that dancers in the three surveyed countries are broadly • There are many types of support that are helpful to comparable with dancers elsewhere, our findings can be dancers in the career transition process, including finan- used in general terms as a basis for inference to other cial assistance, emotional support, counseling programs countries. and services, job search preparation, advice and information, and assistance in education and training. Dancers The findings from our survey include the following: report that this support comes from a variety of sources, including dance companies, unions, service organiza- • In all three countries, between two-thirds and three- tions, and family and friends. About 60 percent of former quarters of dancers are female, and the majority have for- dancers in Australia, Switzerland and the U.S. identified mal dance qualifications. They are also better educated in family and friends as the most important source of sup- terms of post-secondary school qualifications than the port for them during this critical period. average populations in their countries (in the U.S., for example, three-quarters of dancers have post-secondary Dancers uniformly find specific transition programs help- qualifications, compared to a little over half of the gener- ful, when such programs are available. Among the three al population with at least some post-secondary educa- countries surveyed, participation is greatest in the U.S., tion). where transition programs have been and continue to be • Our results show that currently active dancers expect to more common than in Australia and Switzerland. The continue their performing careers until well into their for- increased availability of programs in all three countries in ties. However, dancers whose active careers are now over recent years is evidenced by the fact that participation remember that, although they thought they could contin- among current dancers is greater than that among former ue until their late thirties, on average they actually dancers in each case. Even so, taken overall, the majori- stopped dancing professionally in their early to mid-thirty of dancers in all three surveyed countries have not par- ties. ticipated in transition programs.

PG 4 Making Changes GUIDING HYPOTHESES AND PERTINENT CHALLENGES OF TRANSITION EVIDENCE

The main approaches to ease the career transition A comparison of dancers’ expectations with their actual process that are likely to be used by dance companies, experience in the three countries surveyed indicates that publicly and privately-funded support agencies, career in the majority of cases, the availability and importance of transition centers, and other organizations and individuals all types of support measures (financial, emotional, infor- include: mational, and educational) fall short of dancers’ expectations. (1) Income subsidies paid directly to the dancers for a limited time period after retirement; HYPOTHESIS 2: Current funding of dancer retraining for a post-transition (2) Subsidies for re-education and retraining, paid to the career is generally insufficient to cover the cost of such retraining institutions or issued as vouchers to individual programs. dancers; According to the dancers we surveyed, the financial (3) Sustained career counseling, beginning substantially resources available for further training in fields other than before retirement; dance are inadequate. The highest percentages of current dancers responding to the survey in all three countries (4) Establishment of a job placement agency that keeps have concluded that they plan to finance study with their up-to-date information on employment opportunities and own funds (51 percent in Australia, 39 percent in guides former dancers both before and after a new career Switzerland, and 43 percent in the U.S.). The expectation has been found; that post-career study will largely have to be self-financed is confirmed in practice in the three surveyed countries. (5) Pre-career education and training in a second field; The majority of former dancers in all three countries financed their further education with their own funds (51 (6) Mid-career education and training in a second field; percent in Australia, 49 percent in Switzerland, and 52 and percent in the U.S.). The mean (average) cost of retraining in Australia was AU$11,000 (U.S.$8,800), (7) Post-career education and training in a second field. CHF18,000 (U.S.$14,000) in Switzerland, and $27,000 in the U.S. We examined these approaches by formulating a series of hypotheses and testing them against available evidence. In Canada, the Netherlands and the U.K., however, Our hypotheses, and the evidence assembled, are the fol- retraining and subsistence grants have apparently mini- lowing: mized the need for such personal financial investment by dancers, according to information provided to us by the HYPOTHESIS 1: career transition centers. In some cases, retraining can An income subsidy can play a substantial role in permit- even begin while dancers are still actively dancing, thus ting the former dancer to undertake the effort needed to precluding the need for investments soon after transition prepare for a subsequent career. (see Appendix A in Part Two of this report for more details). Current dancers in all three of our surveyed countries report that approximately five percent of their total income comes from unemployment benefits, insurance, government grants, and other subsidies. These contributions are clearly very modest and leave a sizeable gap between costs and resources. Without additional outside support, income subsidy is a costly approach, and while such a subsidy is being paid, it may even weaken the former dancer’s incentive to look for a more viable long-term solution.

The aDvANCE Project PG 5 HYPOTHESIS 5: SUMMARY Training for a second career during the period of dance activity is a realistic policy, but only for some types of HYPOTHESIS 3: dance activity. The time demands of a professional Retraining promises to provide a substantial improve- dance career may leave insufficient time for an adequate ment in the dancer’s earnings after transition, particu- level of training. larly if the retraining occurs relatively early in the dancer’s career. It is probably not realistic to aim at widespread training for second careers before transition, particularly for The interview data from our three surveyed countries indi- dancers in branches of dance such as classical ballet. cate that early formal retraining is often very valuable for Ballet requires an extremely time-consuming training pro- improvement of subsequent earnings and career satisfac- gram at a very early age. In addition, prospective dancers tion. However, surprisingly, although such early formal are unlikely to be guided effectively in this direction before retraining leads to a substantial increase in income imme- beginning their dance careers. Most dancers in our sur- diately after transition, in the longer term it is not partic- veyed countries do not think their study for a second ularly far ahead of all the alternatives considered, such as career should have begun earlier. contemplated later retraining or the absence of any intention to retrain. Moreover, there are significant exceptions Information from the four existing career transition centers to the hypothesized superiority of post-transition income generally confirms this. In general, dancers in companies that derives from retraining and particularly from pre-tran- that have relatively tight schedules may not have the flex- sition retraining. For example, in Australia, while twelve ibility to begin retraining while they are still dancing. months after transition, 39 percent of those who had However, the experience of the four transition centers completed retraining before transition had increased their indicates that early preparation for the career transition incomes over the pre-transition levels, 56 percent who process significantly reduces the trauma that often had not yet completed retraining were also benefiting accompanies unprepared transition. Therefore, the exist- financially, and 42 percent of those who had no retraining transition centers seek to heighten the dancers’ ing plans had also experienced higher incomes. A similar awareness of the inevitable end of the performing career. exception occurs in the data for the U.S., where 43 per- A great deal of the work of these centers is focused on cent of those who had completed retraining before transi- dancers while they are still studying dance and perform- tion had increased their incomes by the time of the sur- ing. veys, but 46 percent of those who had no intention of retraining were also receiving higher incomes than before. HYPOTHESIS 6: So although early retraining clearly benefits some individ- For a substantial proportion of dancers, a post-transition uals, it is not the only answer, since a majority of dancers career totally divorced from dance may not be a realistic who did not undergo such retraining nevertheless finished possibility. up with a higher income than they had earned when they were dancers. Non-dance-related careers into which surveyed former dancers from Australia, Switzerland and the U.S. have HYPOTHESIS 4: moved include real estate, nursing, the ministry, insur- Post-dance career retraining may offer benefits primari- ance, massage therapy, and yoga instruction. Our results, ly in the long run, but may exacerbate the dancer’s however, showed that most dancers in the countries sur- financial problems in the early stages of transition. veyed ended up in new careers that are related to dance. It is also noteworthy that the 2002 Paris National Opera According to our survey, post-transition retraining entails study found that nearly 83 percent of former dancers, a serious financial hardship soon after transition, in part after transition, went into careers in the field of dance because of the cost of retraining. However, this disadvan- and, of those, 65 percent became dance teachers. This tage disappears in the longer term as the benefit of high- may be so either because after retirement from dance it is er incomes due to retraining takes effect. too difficult, because of age or for other reasons, to switch to a career outside of dance. The retiring dancer may, for example, have dependants, making retraining a further

PG 6 Making Changes difficulty. It may also be a consequence of the former CHALLENGES OF TRANSITION dancer’s personal preferences and enduring commitment to the field, or of the orientation of funding agencies. And it may be a consequence of unavailability of career tran- mean (average) age at which former dancers stopped sition support. dancing in Australia, Switzerland, and the U.S. was a little under 34 years, which is about ten years later than the According to information from the existing career transi- general date of embarkation in most professions requiring tion centers, former dancers who have gone through one extensive education. of these centers have chosen a wide variety of careers, including real estate, medicine, insurance, Pilates instruc- The results of our survey indicate that the income tion, massage therapy, yoga instruction, architecture, arts prospects of dancers who stop dancing at a relatively management, computer technology, graphics and web older age are less favorable than those who stop dancing design, finance, law, massage techniques, publishing, tel- at an earlier age. In all three countries, the post-transition evision, theater direction and production, carpentry, and incomes of dancers who undergo transition before the age psychology. of 30 (which is several years before the mean and median ages of transition in these countries) are higher than HYPOTHESIS 7: for those who stop dancing beyond that age. This has not, Systematic programs of placement and apprenticeship however, been the experience in Canada where, accord- of dancers with no ancillary skills at the time of career ing to the Dancer Transition Resource Centre, over the last transition are likely to be most remunerative and satisfy- 20 years the average age of transition was 36 years.1 ing when the new position is in the performing arts or some related arena. HYPOTHESIS 9: Substantial awareness of the challenges of transition The survey evidence casts some doubt on this hypothesis. (which can be assisted by career counseling) may facili- A comparison of the post-transition incomes of those tate increases in income after transition. dancers working in a dance-related field, another arts- related field, a health or fitness occupation, or a non-arts Career-counseling and provision of information to dancers field shows no significant differences in the proportions of about the challenges of transition can raise dancers’ dancers reporting higher or lower incomes than when a awareness of these challenges. In retrospect, a substan- dancer. However, our results do reveal some differences in tial proportion of surveyed dancers considered such career satisfaction according to the area of work, with sat- awareness to be very valuable. In the three-country study, isfaction greatest when dancers work in a dance-related 43 percent of former dancers in Australia, 30 percent in field. Switzerland, and 57 percent in the U.S. reported that advice and information were “very important.” Moreover, In contrast, the experience at the career transition centers a greater percentage of the dancers who said they were indicates no difference in career satisfaction levels very aware of the challenges also reported increases in between careers that are dance-related and those that are income than those not very aware of them. not. HYPOTHESIS 10: HYPOTHESIS 8: Dancers tend to be badly informed about matters such For dancers switching to careers that are not dance- as future income prospects and the challenges of career related, the older/more mature the dancer is at the time transition. Such information can help prospective of career transition, the less favorable the dancer’s sub- dancers’ satisfaction with a subsequent career after sequent earnings are likely to be. transition.

Entry into a new profession at the end of the dance career Most current dancers in our sample claim to be well can be very difficult because the age of retirement from aware of the challenges that will face them when transi- dance is probably beyond that at which people learn most 1 It is also noteworthy that Canadian grants primarily support dancers whose careers easily, and because it often entails entry into a field with have been of considerable length, except in the case of dancers with permanent far younger competitors. Our survey results show that the injury or other severe medical problems.

The aDvANCE Project PG 7 likely to be disappointed at first. However, in the longer SUMMARY term, their hope for a higher income seems more likely to be fulfilled. On the other hand, it seems that a number of tion occurs. But this may be more apparent than real. those expecting less will have their fears confirmed, espe- With the benefit of hindsight, former dancers acknowl- cially in the early stages after transition. Overall, a major- edge they were not well prepared. The proportion of those ity of surveyed dancers finish up earning more after tran- fully prepared and enjoying higher incomes in the imme- sition than before, but almost 30 percent have post-tran- diate post-transition period was larger than the correspon- sition income lower than when they were dancers. ding proportion for those not fully prepared. This income advantage apparently associated with preparedness for HYPOTHESIS 12: transition was maintained in the longer term, though the Dancers tend to disregard their health risks. distance between the fully-prepared and the not-fully-prepared groups appears to narrow over time. Surveyed current dancers often expect that ill health or the effects of injuries will lead to the end of a profession- Our survey results also show a markedly higher level of al career (this is true of 43 percent of current dancers in post-transition career satisfaction among those fully pre- Australia, 37 percent of current dancers in Switzerland, pared to meet transition than among those not fully pre- and 43 percent of current dancers in the U.S.). In fact, ill pared. health and injury do often bring dance careers to an end. Twenty-nine percent of surveyed former dancers in HYPOTHESIS 11: Australia, 33 percent of former dancers in Switzerland, Dancers tend systematically to overestimate their likely and 35 percent of former dancers in the U.S. report that incomes and the length of their careers. the health effects of injuries caused them to stop dancing.

The evidence supports this hypothesis. Our survey findings show that currently active dancers expect to contin- SOME CONCLUSIONS AND RECOMMENDATIONS ue their performing careers until well into their forties. However, dancers whose active careers are now over real- Our interviews with dancers, our study of current career ize in retrospect that they could not continue dancing as transition-facilitating practices of a large sample of organ- long as they had expected. Although these dancers had izations in many countries, and our examination of the thought they could continue until their late thirties, on preceding hypotheses all provide insights for promising average they actually stopped in their early to mid-thir- transition policies and programs that may be useful ties. One typical response to the inevitability of any kind depending on particular regional or national differences. of transition is simply denial of the problem. Thus, even if Most important, we acknowledge the invaluable contribu- objective information is provided to the dancers, it may tions and the successful programs that are already being not have much effect. The experience of the countries carried out by the four career dance-transition centers in where career transition centers exist tends to confirm this. Canada, the Netherlands, U.K. and the U.S. These organ- Denial is a persistent defense mechanism.2 izations have led the way toward the design and execution of programs and services that can effectively alleviate Not surprisingly, surveyed current dancers have only a the burden borne by dancers in the course of their career vague idea about what they may earn after transition, and transitions. At least three of their reported accomplish- significant numbers answered, “don’t know” when asked ments require particular emphasis. First, their programs what they expected. Nevertheless, about one-third of cur- have freed dancers from pressures to seek a new career rent dancers in all three of our surveyed countries said primarily in a dance-related field and have made it possi- they expected to earn more after they stopped dancing. ble for dancers to find rewarding second careers in other Only 15 percent expected to earn less. Our survey data respected professions. Second, the programs at these suggest that, in reality, those expecting to earn more are career transition centers have helped to open an impressive variety of occupations for the dancers’ second 2 However, part of the work of the four career transition centers is focused on raising dancers’ awareness of transitions issues during the stages of their dancing careers, careers. Third, and perhaps most striking, is the success even during the educational stage. Experience at the four centers indicates their of the vast majority of the graduates of the transition cen- efforts have succeeded. Discussion of transition in these countries is no longer taboo, as it was before the founding of the transition centers. ter programs in finding continuing employment in the

PG 8 Making Changes fields in which they were retrained. These laudable CHALLENGES OF TRANSITION achievements underlie the first of our conclusions and recommendations: (3) Dancer Participation in Management of Transition (1) Concern about the welfare of dancers should lead Programs countries in which no career transition center now exists to assign high priority to the creation of such a center, Our evidence suggests that the dancers themselves and should lead the governments in the countries where should much more routinely participate in the formulation the four transition centers are now located to give high- and operation of career transition programs. Programs in er priority to their funding. transition centers and dance companies that do so may be carried out more effectively. This approach may also The most important of our other conclusions and recom- elicit innovative ideas from the participants and will mendations are summarized next, under six headings. engender an atmosphere of confidence and trust.

(2) Financial Issues: Costs and Funding (4) Training Programs

Cost and limited finances are clearly among the most seri- • Dance school curriculum development. Although find- ous handicaps impeding more widespread and effective ing the necessary space in dance training programs may career transition programs. Government-sector support be difficult, educational programs in dance schools of all and more vigorous fundraising are, of course, the oft-pre- kinds and at all levels should consider the inclusion of a scribed solutions, but other, more indirect, approaches mandatory curriculum on transition, as is currently the can reduce the financial pressures. Two examples illus- case in the U.K. Since over half the former dancers sur- trate the possibilities: veyed in the three countries have done some teaching, these former dancers are the perfect vehicles to include • Partnerships with institutions such as colleges. Some transition awareness in their own teaching practices, dance organizations have entered into agreements with whether delivered through formal course programs in nearby educational institutions to provide retraining to dance education or through informal or private dance current and former dancers at little or no tuition cost to instruction. the dancers, with obvious fiscal benefits to the dancers and the dance organization. Moreover, for the education- • Retraining and, in particular, earlier retraining. There al institutions, which normally seek intellectual enrich- is no question that for many dancers retraining is the por- ment through diversity in the student body, the addition of tal to success in a new career. But in career transition pro- a relatively small number of students will cause little grams, one size does not fit all. While retraining may be increase in operating costs, since a negligible expansion the key to a felicitous future for some dancers, others in the size of classes entails no expense. seem to do quite well without it. The survey evidence shows that retraining often contributes both to post-tran- • Incorporation into other programs in the public sector sition income and to job satisfaction. However, a greater or elsewhere. The dance community can seek opportuni- share of former dancers who had not yet undertaken ties in existing governmental or other programs into which retraining (or who had no intention of doing so) had high- it can incorporate at least portions of its activities. For er post-transition incomes than those who had completed example, in Switzerland, governmental programs pay to their retraining or were still in the retraining process. retrain the unemployed and help their transition into a Thus, the evidence does not show that early retraining is more viable vocation. The Swiss dance transition pro- necessarily the most effective way to promote these goals. grams usually first investigate whether these government programs can be used to help a candidate for transition (5) Counseling assistance before releasing any of their own limited funds The provision of counseling, particularly career counsel- for the purpose. ing, services can be an invaluable component of any transition program. Given the very special and complex character of the career transition process, well-trained and

The aDvANCE Project PG 9 ity and gain the trust of its dancers in initiating career SUMMARY transition programs. well-prepared counselors are required to provide effective • Dancers’ unions and service organizations. Although services to dancers. Thus, in each country, unless it unions representing dancers and service organizations in already exists, it may be desirable to organize a coun- the dance industry in several countries have addressed selor-preparation program, offering a proficient-counselor the challenges of career transition in various ways, a training course to those who will be conducting the activ- greater effort would appear to be warranted. Unions, for ity in dance organizations and other relevant venues. In example, could effect changes in pension plans and addition, where feasible, the counselor staff should health benefits. include former dancers, because they are uniquely situated to be able to understand the transitioning dancer’s (7) Government Funding and Policy challenges and needs and to bring an outside perspective to their advice. • Government programs. A number of the preceding pro- posals invite additional steps by government to facilitate (6) Specific Suggestions for Dance Companies and Other and encourage them. For example, dance schools can be Organizations offered modest financial incentives to require their pupils to undertake a second field of education, along with • Formation of dance companies for older dancers. The incentives to encourage dance companies to enter into creation for older dancers of more companies such as partnerships with local universities, creating programs exist in the Netherlands, the U.K. and the U.S. can pro- that make it possible for dancers to pursue university vide additional opportunities for older dancers, and allow degrees while still dancing. a more gradual and less traumatic transition, while continuing to make the talents of these dancers available to Furthermore, governments can usefully contribute profes- the public. sional training to those who carry out career transition activities, possibly through grants to transition centers • Two-track training programs. Dual-track training pro- and dance service organizations in the field or by show- grams—such as those used in Cuba and Mexico—that ing them on the basis of experience and analysis ways in require dancers to study both dance and dance teaching which such programs can be designed and carried out simultaneously can be an effective and efficient way to more effectively. Part of this activity could include training prepare dancers for their activities after transition, while in effective program-evaluation techniques that will reducing the duration of any inter-career hiatus. However, enable those who conduct career transition programs to this can result in a glut of dance teachers who may then improve them on the basis of their own experience. have difficulty attracting a sufficient number of students to provide an adequate income. In addition, teaching is Finally, there is the most obvious role of government: the reported, at least in some cases, to yield limited career provision of the necessary funds. satisfaction to post-transition dancers. In fact, the two- track program in Mexico was recently terminated. • Articulated health insurance and pension schemes. Articulated protection in government health and pension • In-house dance company career transition programs. schemes is clearly warranted for dancers (both company- Greater awareness and promotion of transition support affiliated and independent dancers), particularly given needs to come from dance company managers, artistic that nearly one-third of our surveyed former dancers cited directors, and those involved in the daily operations of the health and injury as the cause of their dance career ter- companies, with an active acknowledgement that transi- mination. Some governments and a number of organization should be seen as a normal part of a dancer’s career. tions in several countries have already taken steps in this In particular, established companies should seriously con- direction and their experience can be helpful to others in sider setting up their own career transition programs, tai- designing their own programs. lored to their own circumstances. One difficulty, according to the four dance career transition centers, is that it may The preceding summary of recommendations that be hard for a dance company to ensure strict confidential- emerged from the study makes clear that there exists no

PG 10 Making Changes magic bullet that can make the problems of dance career CHALLENGES OF TRANSITION transition vanish or even fundamentally ease the tasks they entail for those who are engaged in facilitating the career transition process. Yet, improvements in current arrangements are distinctly possible. And, above all, the prime candidate for improvement is the elimination of the neglect of dancers’ problems, along with the creation of adequate resources for the purpose. The four extant formal transition centers have demonstrated that it is possible to do a much better job of helping dancers make the journey from active professional dance careers to successful second careers in the broader working world. These centers provide an invaluable example to other countries that seek effective measures to facilitate the dancers’ transition process.

Society owes a substantial debt to those who contribute to its culture and its arts in general, and to dance and its practitioners in particular. Career transition is an evident opportunity to begin repayment of that debt.

The aDvANCE Project PG 11 Making Changes Part One

FACILITATING THE TRANSITION OF DANCERS TO POST-PERFORMANCE CAREERS ew would deny that dance plays a significant role in a nation’s cultural activity. Yet the dancer’s eco- F nomic circumstances are far from enviable. Of course, to some degree, this is true in any line of artistic Part One: I endeavor. But in a number of ways the lot of the dancer is even more difficult than that of practitioners in other art forms. The level of commitment required to become INTRODUCTION: a professional dancer and to sustain a career in dance is arguably greater than in almost any other avenue of creative artistic work, but the dancer’s pay is, on average, DANCERS IN substantially lower than that of other performers. More particularly, the dancer’s profession is beset by several TRANSITION, handicaps which, taken together, constitute the focus of this study.

THE CHALLENGE The professional life of a dancer is unusually brief. Normally, dancers retire between the ages of 30 and 40, when their physical ability to perform up to professional standards has come to an end. Among dancers we surveyed in Australia, Switzerland and the United States, the mean (i.e., average) age of retirement was a little under 34 years—nearly 30 years earlier than the average retirement age among the general population.3 And, dur- “Dancers’ salaries are low; the average corps dancer ing that brief career, a dancer’s compensation is among makes less than a waitress in a busy coffee shop. the lowest in society. We know of no other occupation And careers are short and precarious. A University that requires such extensive training, that is held in such of Washington study reported that dancers suffer esteem as a contribution to culture, and that pays so little. Even other performers, including actors and musi- a rate of injury higher than professional football cians, are better paid. In the three countries we sur- players and athletes in other contact sports.” veyed, we found that dancers’ mean total annual income —Jack Miles and Douglas McLennan from all sources is highest in the U.S. ($35,000), fol- “The Dance Problem: Is Dance a Lesser lowed by Switzerland at $33,000, and Australia at Art Form?,” Arts Journal.com, April 6, 2001 $24,000 (all figures are in U.S. dollars). But of this total http://www.artsjournal.com income, just $15,000-$20,000 is earned, on average, from dance activities. Another source of earnings data, the U.S. Bureau of Labor Statistics, reports that in 2002 “The dancer’s earnings are generally the lowest, the the average annual earnings for American dancers was span of years during which he can find employment only $27,400, compared to average annual figures of is typically the shortest and his employment is gen- $42,800 for actors, $48,300 for musicians and singers, erally the most uncertain, his working conditions $36,800 for carpenters, $42,600 for bricklayers and masons, and $42,600 for plumbers.4 Thus, in order to are often the worst among the performing arts.” earn enough to survive, most dancers must supplement —William J. Baumol and William Bowen their dance earnings with income from (sometimes mul- Performing Arts: The Economic Dilemma tiple) other jobs. New York, NY: Twentieth Century Fund, 1966 p. 125. 3 See sections II and VI for a thorough explanation of research methods and the survey. See the responses to question 12b in our survey of dancers in three countries (Appendix C) and Table 3 below, which also summarizes other significant characteristics of the dancers in the three countries, including gender, education, and age.

4 U.S. Department of Labor, Bureau of Labor Statistics, “Wages, Earnings and Benefits,” http://www./.bls.gov, accessed January 2004.

The aDvANCE Project PG 15 The intensity of commitment required from many profes- PART ONE: I sional dancers is extraordinarily high, beginning at an early age and extending right through the dancer’s career. There are, of course, other professionals, like athletes, According to the responses to our survey, on average, who must end their careers very early. And there are plen- dancers begin training at about 10 years of age and start ty of other occupations that are poorly paid (though few their professional careers at 20 years of age. This often require such extensive and rigorous training). But there makes it difficult for a dancer to stand back and devote may be no other profession that carries both of these dis- much thought or preparation for life after dance, and may advantages, a combination that makes the transition of lead to psychological stress that becomes more acute as the dancer, from active dance professional to post-career the dancing career draws to a close. This emotional trau- occupation, so difficult. The well-paid athlete can hope to ma has to be set alongside the physical toll that a life of retire with a reasonable financial reserve, and can even dance can also inflict on the dancer, manifested in a num- choose to avoid the necessity of further gainful employ- ber of cases in chronic ailment or injury. In fact, many for- ment altogether.5 Even low-paid laborers can go on work- mer dancers who participated in the survey reported ing and eking out a meager existence for decades beyond physical problems, emotional loss and a sense of empti- the age at which dancers must retire. But low earnings ness as three of the most significant challenges at the end and early retirement generally combine to deprive dancers of their dance careers. of the opportunity to accumulate funds sufficient for a rea- sonably easy transition, much less for any more protract- Finally, it is worth noting that the focus by a dancer on ed period. career development in fields other than dancing may be perceived (or feared) as a lack of commitment to dance. There are other complicating influences that add to So, thinking about career transition may often be frowned dancers’ career transition difficulties. In at least some upon in the eyes of their employers and even peers, espe- forms of dance activity, perhaps most notably in classical cially during the period when dancers are building their ballet, the time demands during training and during the careers. individual’s active career are so great as to prevent simul- taneous preparation for another economic activity to For professional dancers, this confluence of factors cre- which the retired dancer can turn after the transition. A ates an economic, psychological and social trauma, Swiss respondent to our survey noted: “It is extremely dif- which is likely to have a profound effect on the rest of ficult to confront the problem of career transition while their lives and for which they are often ill-equipped when still dancing actively. Dance as a profession is too no transition support is made available. Having lived in a demanding to imagine pursuing another education paral- relatively inward-looking and intensely focused world, lel to it.” Not everyone can expect to attend medical or they find themselves suddenly cast out from the stimulus law school during these periods, but even fields of spe- and support that the dance world provided. As one former cialization whose education demands considerably less dancer commented: “I have found it very difficult to ignite time can be difficult to fit in. Another problem is that passion for something else other than performing.” The while the dancer’s career transition occurs at an age that result often manifests itself as depression, inadequate is generally considered far too young for retirement, the socialization, low income and, from the viewpoint of soci- dancer often embarks on a new career at an age at which ety, a huge waste of human capital. The many transfer- it is not easy to start all over again in another field of able skills and experience that professional dancers accu- endeavor. For example, dancers in their mid-thirties who mulate during their dancing years, including self-disci- aspire to an administrative position in an arts organization pline, team work, and stamina, are significant resources or to a teaching post in a university’s dance program will that are in danger of being unused as their active dancing often find those organizations’ entry-level personnel to be careers come to an end.6 considerably younger than they. 6 All of these issues underscore the importance of timely counseling in preparation for transition. For example, in Canada, members of the Dancer Transition Resource Centre have access to career, financial, academic and personal counseling while they are still dancing, pavin g the way for a less stressful transition. Dancers are encouraged to plan for a second career well in advance of the time they stop dancing. After 5 The U.S. Bureau of Labor Statistics estimates that athletes earned an average meeting certain eligibility criteria they can apply for retraining and subsistence grants salary of nearly $93,000 a year in 2002, more than three times the estimated that will enable them to develop either a parallel career while they are still dancing or average salary for dancers in the U.S. (for source, see footnote 2 above). to devote their energies to developing a second career after they stop dancing.

PG 16 Making Changes The challenge of career transition has recently received INTRODUCTION increasing attention, especially through the work of groups such as the International Organization for the Transition of Professional Dancers (IOTPD). In some coun- The need for measures to ameliorate the challenges of the tries, including the United States, the Netherlands, dancer’s career transition is urgent. But, even aside from Canada and the United Kingdom, specialized transition the usual inertia that besets efforts to deal effectively with agencies help to prepare dancers psychologically, profes- many of the pressing problems with which society is sionally, and financially for the career transition process, faced, there are two other obstacles that impede efforts to and quite a few dance companies and schools have deal with the transition problem. The first is our uncer- established programs and services to assist their dancers tainty about exactly which measures promise to be the in changing their careers. Later in this report we will most effective in helping former dancers migrate into their describe a large sample of such career transition pro- next economic roles. The previously available empirical grams. Their number and variety in just this limited sam- evidence on these matters, though enlightening and use- ple will indicate that the problem is hardly being ignored. ful, has not provided the kind of systematically gathered Yet the data we have gathered in this investigation indi- data that we (as academic practitioners) believe are cru- cate that, in each of the three countries where we con- cial for determination of the relative effectiveness of the ducted our survey, a majority of former dancers have not different available measures for easing of dancers’ transi- participated in any transition program, whether by choice tion. Thus, a central goal of this study was to assemble or because no such program was available to them.7 It that kind of evidence and to summarize its implications.8 seems clear, looking at the problem of transition from a global perspective, that current assistance measures are The second major problem besetting improvement of the both limited in scope and inadequate in coverage. career transition process is, in a word: cost. Even before we undertook this investigation, it was clear that virtually Participation is most extensive in the U.S., where any measures that promise to make a substantial contri- dancers’ transition programs have been and continue to bution to easing of the career transition of dancers are be more common than in the other two countries, bound to be expensive. Of course, the need for funding is Switzerland and Australia, which have been studied most an obstacle for any enterprise. But in the case of dance, fully by us. The increased availability of programs in all the challenges to which it gives rise are particularly three countries in recent years is indicated by the fact that severe, because the entire field is already extremely participation among current dancers is greater than that strapped for funds. That means that any funds spent on among former dancers, in each case. the transition process are sure to be regarded as a diver- sion of desperately needed resources from other uses that It is our objective, then, to explore practical ways to build are also very pressing.9 This issue—the competition for on the impressive successes of the current career transi- funds—must be kept constantly in mind in evaluating the tion programs. Our analysis of the problems facing the findings of our study and the recommendations that fol- individual dancer is based on information about the wider low explicitly or implicitly. environment within which dancers are situated across a range of countries: the network of dance companies, Unfortunately, one must, moreover, expect political con- dance schools and academies, unions and professional siderations to impede provision of the requisite funds, associations, industry bodies, funding agencies, sponsors even though the magnitude of the funding that will be and support groups, and multiple levels of government, required for an effective career transition program is hard- all of which make decisions and take actions that affect 8 Countries with transition centers have developed a valuable store of information on the transition process. Our recommendations will be what measures are effective in easing transition. For example, in Canada, the Dancer directed, as appropriate, at all these organizations and Transition Resource Centre has conducted two surveys, in 1985 and 1995, on the economic and non-economic needs of dancers. It has also produced three confer- individuals, since their involvement may prove to be ences on transition, which have been published in On Transition (Dancer Transition Resource Centre, 2002) and, in its annual reports and grant applications, it regularly required in some way in any program that can promise to explores the philosophical and practical issues surrounding transition and provides a alleviate the challenges under study. statistical analysis of these issues. 9 In some countries with transition centers this is not as severe a problem as elsewhere because funds for retraining and subsistence are provided through government 7 See responses to question 21 of our survey in Appendix C of Part Two of this programs specifically and separately set up for transition issues, as well as from pri- report, and Table 7 below. vate sources.

The aDvANCE Project PG 17 much to society’s culture and quality of life. Moreover, it PART ONE: I is arguable that, in the long run, the vitality of dance activity itself requires attention to the welfare of those ly enormous when compared with other governmental engaged in it. The provisions for post-dance-career transi- expenditures. The U.S. provides a striking example: There tion are clearly a critical element of dancers’ welfare. are approximately 28,000 professional dancers in the U.S. Given the fact that the average dance career is on the order of 15–20 years, we can figure that every year approximately 5–8 percent of this number (i.e., roughly between 1,500 and 2,500) reach the end of their dance careers and become candidates for participation in a career transition program. Assuming a modest outlay of $5,000 per year per retiring dancer during an average of two years of transition, this calls for an expenditure of something like $15–25 million.

But this illustrative $10,000 per dancer over a two-year period of career transition is probably too conservative an estimate for a variety of reasons. The required compensation of career transition program personnel, including administrative, educational and other workers, already suggests that this estimate is too modest. But a second and far more substantial reason for this conclusion is particularly pertinent to the dance. The demanding training requirements facing professional dancers means that many of them will not have had the time for professional education in any other field. As a result, at the time of transition many dancers simply have little or no qualification for any economic role outside of dance. For former dancers in this position, guidance in seeking out and pursuing career opportunities outside of the dance arena is challenging.10 Rather, what transitioning dancers appear to need most urgently is help in financing a costly program of education in a new profession. Our surveys indicate an actual retraining expenditure per dancer of some $27,000 in the U.S. (less in other countries), an amount nearly triple that of our hypothetical two-year, $10,000 cost figure above, but still a miniscule amount (perhaps $65 million) in the nearly $2.4 trillion U.S. government budget.

We can conclude from this that the urgent problem of facilitation of dancers’ career transition from performance to post-performance occupation represents a small financial burden for a prosperous economy. We believe that assistance to dancers at the end of their careers is something we owe to these dedicated artists who contribute

10 Dancers in the countries with transition centers have been able to choose a wide variety of careers, particularly in health-related fields, the arts and academic disciplines. (See profiles of the transition centers, later in this volume.)

PG 18 Making Changes highly established dance form that is liberally financed by a government and has a substantial and faithful audience, it is clearly unsuitable for a more experimental dance form that is characterized by meager financing and a very lim- Part One: II ited audience.

These considerations have led us to adopt a very flexible RESEARCH definitional concept, so that we can switch our interpreta- tion to adapt it to the pertinent circumstances as we move from one society or one dance form to another. In Part APPROACH AND Two of this report, we provide descriptions of the organization and the general state of dance in eleven nations METHODS OF (our “country profiles”). There, we have attempted to define what is meant by a “professional dancer” in each country in order to indicate what universe of dancers is THE STUDY under discussion in each case, although many countries have no working definition.

Nevertheless, we should make it clear that our concern is essentially with professional practitioners. The difficulties of defining “professional” as applied to artists are well known, since no single criterion can be relied upon as a his research project originated at the initiative of sufficient condition for admission to professional status. the International Organization for the Transition of Sometimes income is used as a test. For example, as part Professional Dancers (IOTPD), an international T of their eligibility requirements, New York’s Career organization based in Switzerland whose activities are Transition For Dancers asks current and former profes- described further below. The project was undertaken by sional dancers to demonstrate that they have earned their the international research team described at the front of livelihood from performance as dancers. However, income this report. We begin this section of our report with a dis- alone may be insufficient, since some professional artists cussion of the research methods we used in this study. go for long periods without earning any income at all. Similarly, time spent in employment as a dancer may be DEFINITIONAL ISSUES inadequate, since many professional dancers have to spend considerable time at other jobs in order to survive. It is essential at the outset to define the research universe, Commitment to a career and attainment of professional and in the present context this principally entails specify- performance standards are clearly also relevant, but diffi- ing what is meant by a “professional dancer.” Use of this cult to measure. It is for these reasons that we have term can be extremely narrow, encompassing only mem- adopted the flexible definitional approach mentioned bers of the most established dance companies who are above, though remaining committed to the proposition fully employed by such an organization and have no other that it is the professional dancer who is the focus of our gainful employment. At the other extreme, the connota- work, however that is defined in particular cases. tion of the term can be extended to include amateurs whose dancing is primarily recreational. We believe that In practical terms, for the purposes of this study, we dis- both of these options are too extreme, but, unfortunately, tinguish among dancers working in five broad categories: there seem to be no obvious and clear-cut intermediate (1) classical/ballet, (2) modern/contemporary, (3) organ- break points that are readily adopted as the defining ized indigenous or folk dance, (4) musical theater or com- attribute of the group on which our research should focus. mercial dance, and (5) “other,” a catch-all category that And, indeed, even if such a boundary could be found for encompasses dancers working in cinema, television and one country or for one dance form, it would almost cer- other industries (such as revues, fashion shows, cruise tainly be inappropriate for another. In addition, while full- ships and corporate events), as well as less-organized time employment may be an appropriate criterion for a forms of dance activity. In all five of these categories, it is

The aDvANCE Project PG 19 For this purpose, we employed the standard analytic PART ONE: II approach to such an investigation: the formulation and testing of hypotheses, or possible explanations, that in common to find individual dancers whose work spans this case describe the choices available for the design of more than one of the fields at a given time or at different workable dancers’ career transition programs. stages in their careers. Accordingly, before we set out to collect the data on the pertinent facts, we devised a set of specific hypotheses Another possible definitional problem relates to the dis- (which can be thought of as tentative suppositions about tinction between current and former dancers, a matter of the effectiveness of different measures in facilitating relevance when surveying individual dancers about their dancers’ career transition) to guide the empirical investi- expected or actual career transition experience. Some gation. In Section VI of this report, we will describe our dancers who responded to our surveys were reluctant or hypotheses and discuss what the facts indicate about unwilling to identify themselves as “former dancers,” their validity. But readers should bear in mind that much arguing that there is no fine line distinguishing a current of the information we have collected cannot validly be dancer from a former dancer. For example, a male respon- interpreted as providing a direct test of any of the dent in the U.S. who identified himself as a former dancer hypotheses. Rather, the data can tell us whether current for the purpose of the survey wrote: “I don’t consider career transition practices are consistent with the implica- being a choreographer much different than being a tions of the hypotheses. In other words, we cannot claim dancer…. I just had to stop dancing…in order to meet my to have provided conclusive tests of the hypotheses, but responsibilities as a choreographer. How can choreogra- we have enough suggestive data to provide plausible eval- phers not be considered dancers? Dance teachers are still uations of the relative promise of the different compo- dancers. I consider myself to be a current dancer even nents that together constitute transition programs. though I choreograph dance more than I perform it.” Despite this, however, there is no doubt that an individ- THE EMPIRICAL INVESTIGATION: OUR ual’s career as an active performer does come to an end COLLECTED DATA at some point, even though a post-transition career involving such activities as choreography or dance teach- Guided, where relevant, by our hypotheses, we set about ing does require occasional dance steps or movements to collecting three broad types of background information: be performed or demonstrated. For the purposes of this (1) facts related to the dance “industry” and the institu- study, we chose to draw the line between dancers current- tions comprising it in the various countries under study, ly involved in active performance and dancers no longer (2) facts about career transition programs currently in engaged in active performance. operation, and their success or lack thereof, and (3) facts related to the dancers themselves. We used the following GUIDING HYPOTHESES FOR THE EMPIRICAL three information-gathering methods to organize the data: INVESTIGATION a. Profiles of 11 Countries. The “country profiles” portion The collection of data in this investigation had two central of the study was undertaken to illustrate the breadth of purposes. The first was to determine the facts about the dance activity around the world, to indicate the differ- current state of affairs in the dance industry around the ences in the characteristics of careers in dance in differ- world, the nature and variety of currently available ent countries, and to provide some assessment of the dancers’ career transition programs, and the characteris- magnitude and geographic distribution of the career tran- tics of the transition process as it now affects individual sition challenge. Our coverage encompasses a wide vari- dancers. But in order to determine which data should be ety of countries, including those with a long, historical collected, we first needed to clarify which questions we commitment to dance and others with a less-formalized wanted our investigation to answer, in order to succeed in history. The eleven countries involved also exhibit sub- our second and central purpose: that of evaluating the stantial differences in their governmental support and pro- various strategies for amelioration of the problems of grams and services for dancers, with public funding agen- career transition and drawing attention to the most prom- cies that vary in organization and hierarchical arrange- ising of those approaches. ment. In addition, our profiles include countries with very different proportions of dancers engaged in the various

PG 20 Making Changes types of dance, including classical, modern, indigenous or RESEARCH APPROACH folk dance, and commercial or show dance.

Profiles were drawn up for Australia, Canada, England, Switzerland and the U.S. We chose these countries France, Germany, Hungary, Japan, Mexico, the because, in each one, we were able to identify an appro- Netherlands, Switzerland, and the U.S. These individual priate research sample of dancers and former dancers, national portraits are made up of information on the and were also able to locate qualified research partners to dance industry in each country, including data on educa- undertake the complex sample survey. As a prelude to the tional and training systems; public and private funding; surveys, in each country we conducted personal inter- numbers of employed and unemployed professional views with representatives of the professional dance com- dancers; numbers of companies and institutions involved munity—we talked to artistic directors, general managers, in dance; institutional structures; and methods of support executive directors, dancers, and representatives from for dancers (benefits, pensions, and so on). These data dancer service organizations, unions and government were gathered from a number of sources, including com- agencies. We then prepared a common questionnaire and pendia of official government statistics, arts funding agen- obtained a sample list of current and former dancers. cies, dance companies, dance transition centers, and After the Board of Advisors of the aDvANCE Project other dance organizations. For each profile, we relied reviewed and commented on the common questionnaire, upon data collected by local professionals with extensive it was first subjected to a pilot test with a small group of knowledge and experience in the dance sectors of their potential respondents. It was completed with some minor respective countries. variations to suit local conditions. Following approval by our research partners’ administering institutions, we con- b. A Broad List and Description of Dance Career ducted the survey by mail, and entered the answers to the Transition Programs. There currently exist a considerable survey into a common database for the three countries. number and variety of programs designed to assist More details of survey procedures employed in the three dancers at the end of their professional careers. Section countries can be found in Appendix B of Part Two of this IV of this report contains a sampling of some of the most report. significant dance career transition programs around the world, along with detailed descriptions of the programs of We should note that the small number of countries stud- the four formal dance transition centers. And, in Appendix ied in our sample surveys obviously leaves a significant A of Part Two of this volume, we present a fuller listing gap to be filled by future investigators. Other evidence and brief description of the many programs and practices, indicates that the circumstances of dancers in career tran- outside of the transition centers, that are currently sition do in fact vary from one country to another, and in employed to deal with the career transition problem. some cases the variation is substantial. Thus, the results that we believe to be representative of the circumstances The descriptions of the four transition centers were proof dancers in the countries we were able to study may not vided by the centers themselves. The remaining data for necessarily hold elsewhere. Replication of these surveys this section of the report were gathered by our research in other countries provides an agenda for future research. director, Professor Joan Jeffri, who visited the four career transition centers, and by members of our research staff, In the next three sections, we will describe in greater Annemarie Schoepfer and Lauren Tehan, who put togeth- detail the data collected in the investigation, with higher a detailed description of illustrative career transition lights of our country profiles, a sampling of dance career programs and other transition-facilitating measures that transition programs, services, and practices, and our are in effect in a number of countries. In some cases, sample surveys of dancers in Australia, Switzerland and other experts in the dance industry were interviewed for the U.S. Then, in Section VI, we will turn to the central further information. issue of this report: What the collected evidence suggests about effective methods for facilitation of dancers’ transi- c. Sample Survey of Dancers in Three Countries. In order tion to their post-dance careers. Section VII will set out to understand more clearly the challenges of career our conclusions and recommendations. change for individual dancers, we undertook sample surveys of current and former dancers in Australia,

The aDvANCE Project PG 21 national, provincial and local levels from public directories, educational and training listings and directories, union data, listings of grant recipients, and from their own personal networks and referrals. We note here that data Part One: III from the different agencies and organizations may sometimes conflict, offering different numbers for the same category. Also, the profiles of Australia, Switzerland and the THE DANCE U.S. are more detailed, because surveys of current and former dancers were also conducted in these three coun- INDUSTRY tries. Where the data were available, we collected, among WORLDWIDE: other things, information about the number of dancers in each country, about growth in the dance sector, types of financial support for dance (public and private), dancers’ HIGHLIGHTS OF earned income, and the benefits offered to dancers who are employed by dance companies. While the separate country profiles located at the end of this report give OUR COUNTRY details of significant trends and other data for each country individually, here we offer a few particularly notewor- PROFILES thy comparisons, emphasizing similarities and differences among countries to illustrate the sometimes very different circumstances to which career transition practices must adapt. In the following highlights, we touch on dancer s indicated earlier, this report provides as back- population characteristics, including country of origin, ground a profile, or detailed description, of the data on attendance at dance performances, growth in the A general dance situation in each of the following dance sector, dance funding, and dancers’ incomes. eleven countries: Australia, Canada, England, France, Then, in Section IV, we will discuss the information we Germany, Hungary, Japan, Mexico, the Netherlands, gathered about current career transition programs, servic- Switzerland, and the U.S. The individual, unabridged pro- es, and practices. files are located in Part Two of this report. In this section we will summarize the most salient information in those Dancer Population Characteristics. Although the percent- profiles.11 age varies from country to country, the vast majority of dancers in all of the countries profiled are female. In the As already noted, the profiles rely upon data collected by Netherlands, for example, female dancers make up 65 local professionals in each country. These data partners, percent of the total; in Canada, 84 percent of the dancers who are identified in the unabridged profiles in Part Two, are female.12 Race and ethnicity are difficult to assess in were chosen for their extensive knowledge of and experi- an international study, but in Canada, the U.S. and the ence in their country’s dance sector. They were responsi- Netherlands, there is a high proportion of Caucasian ble for gathering all the available statistical information dancers (90 percent in Canada, 81 percent in the U.S., from government registries and funding bodies at the and 90 percent in the Netherlands). It is also worth men- tioning that in some countries, notably the Netherlands 11 A few caveats are in order here with regard to the dancer categories into which and Switzerland, a high proportion of dancers come from we have had to fit the real world of dancing. Clearly, some categories incorporate more than one type of dance. Indeed, in some countries indigenous dancers, for foreign countries, and these foreign dancers often reap example, are nearly impossible to separate out (in Mexico, for example, dance is such the same benefits as native dancers. In the Netherlands, an integral part of many indigenous cultures that almost every Mexican native may be said to be a dancer). We note also that some dance institutions collect their data in a 50 percent of dancers come from elsewhere; in much more organized way than others do. Finally, information about ballet, modern, or unionized commercial dancers who are attached to particular companies or venues is, of course, much easier to come by than information about unaffiliated freelancers. 12 Switzerland’s many independent dance companies are often led by dancer/chore- While we are able to provide here only the data that were available to us, readers ographers, more of whom are male than female. Also, in 2003 all of the choreogra- should be aware that there is a world of dancers out there that is unrepresented in phers at the state-subsidized Swiss theaters were men. this study.

The aDvANCE Project PG 23 by 93 percent between 1987 and 1997, while the num- PART ONE: III ber of dancers increased 34 percent from 1990 to 2001 (with 20,880 in 1990 and 28,000 in 2001). In Japan— Switzerland, only 2 of the 128 dancers in the four largest where half of dancers are engaged in the classical dance companies are Swiss nationals. Japanese dance form, in contrast to Western countries, where three-fourths of the dancers are in modern or con- Attendance at Dance Performances. Table 1 presents, for temporary companies—the number of dancers has stayed our 11 profiled countries, attendance figures at dance almost the same. events and an estimate of the percentage of the total population that attends such events. Although the figures rep- Dance Funding. With the exception of the U.S., dance in resent various years, they suggest that, in total in the all the countries profiled is largely funded by the govern- eleven countries, more than 33 million people attend ment, with different proportions at the federal, state and dance events annually. local levels. Table 2 shows the amounts of public sector

Table 1: Dance Audience Size in 11 Countries Country Year Attendance at Dance Share of Population that Events Attends Dance Events

Australia 1999 1,345,000 9.0 Canada 2001-2002 1,230,019 6.8 France 1997 7,823,468 13.0 England 2000-2001 1,786,000 13 3.0 Germany 2001-2002 1,610,834 2.0 Hungary N/A N/A N/A Japan 1999 4,072,200 3.3 Mexico 2002 217,608 0.2 Netherlands 2000 580,000 3.6 Switzerland N/A N/A N/A U.S. 2002 8,000,000* 3.9 Note: N/A means not available. * Includes audiences for ballet only.

Dance Sector Growth. Though varying in degree, in near- funding for dance, along with the figures for each coun- ly all of the countries studied the dance sector has grown try’s general population and dancer population.15 It over the past ten years. In many of the eleven countries should be noted that these figures are broadly indicative the number of dance companies and the number of only. Although the data on dance funding for those coun- dancers grew in the 1990s. In Canada, there was a 48 tries where statistics are available are broadly comparable percent growth in dance companies and a 67 percent (though with the qualifications mentioned in the footnotes growth in the number of dancers; in the Netherlands, to the table), the figures for public-sector funding for the structurally subsidized14 companies increased 86 percent arts vary widely with respect to what is included and in number (from 242 to 450 companies). In the U.S., the what is not, for example, depending on how the arts are number of dance companies in the non-profit sector grew defined in different jurisdictions and whether or not the amounts include capital as well as operational funding. 13 Total estimated dance attendance figures for England include 1,786,000 at performances, 479,000 at workshops, and 6,740,000 via broadcast, for a total attendance figure of 9,005,000. 15 14 The Dutch government supports dance in two ways: structural support to compa- For comparison, currencies have been converted to U.S. dollars using the nies on a four-year funding cycle and project support to choreographers on an annual Universal Currency Converter, available at http://www.xe.com/ucc/. Note that M basis. stands for millions and B for billions.

PG 24 Making Changes HIGHLIGHTS OF COUNTRY PROFILES

Table 2: General Population, Dancer Population, Public-Sector Funding for the Arts, and Public-Sector Funding for Dance, 11 Countries

16 Country Population in 2003 Dancer Public Sector Public Sector Population 17 Funding for Arts Funding for Dance

Australia 19,731,984 1,250 18 AU$172.1M AU$23.7M (2003) (2000/01) (2000/01) (U.S.$127.3M) (U.S.$17.5M) Canada 32,207,113 6,400 19 CA$6.7B CA$26.3M (2001) (2000/01) (2000/01) (U.S.$5.1B) (U.S.$20M) 20 England 60,094,648 N/A £350M £30M 21 (2003/04) (2003/04) (U.S.$583M) (U.S.$50M) France 60,180,529 4,500 2.5B€ 4.3M€ (2001) (2000) (2001) (U.S.$5.2M) (U.S.$3.1B) Germany 82,398,326 3,190 8.3B€ N/A (2002) (2002) (U.S.$10B) Hungary 10,045,407 700 27.1B HUF 2.1B HUF (2002) (2001) (2003) (U.S.$125M) (U.S.$9.7 million)

Japan 125,214,499 6,400 22 764,580M ¥ N/A (1995) (2000) (U.S.$6,216M)

Mexico 104,907,991 920 5.8B pesos N/A (2003) (2002/03) ($U.S.580M)

Netherlands 16,150,511 695 296.3M€ (2002) 32.6M€ (2002) ($U.S.340.4M) (2002) (U.S.$37.5M) Switzerland 7,318,638 N/A N/A N/A

U.S. 290,342,554 28,000 U.S.$1.3B U.S.$16.9M 23 (2001) (2001) (2000)

16 Population estimates from U.S. Central Intelligence Agency, The World Factbook, 20 Represents population for all of United Kingdom, including Northern Ireland. http://www.cia.gov, accessed October 2003. 21 This figure excludes funding for the Royal Ballet (which is part of The Royal Opera 17 Population estimates for dancers are from our country profiles (see Part Two of House.) this report). 22 Includes dance teachers. 18 Includes dancers and choreographers. 23 This estimate is based on the combination of National Endowment for the Arts 19 Includes dancers and dance teachers. funding and state funding for dance.

The aDvANCE Project PG 25 In many cases, dancers’ incomes depend on the size and PART ONE: III type of company that employs them. In the U.S., the average 1999 earnings of professional dancers ranged Bearing these caveats in mind, we can observe that the from $427 a week (for dancers in medium-sized compa- arrangements for and amounts of funding specifically for nies) to $816 a week (for dancers in large companies). In dance differ substantially from country to country. A few Hungary, 2002 salaries ranged from a low of HUF60,000 illustrations will suggest some of the differences. In the (U.S.$260) a week for folk and modern dancers to a high U.K., taxation and proceeds from the National Lottery of HUF120,000 (U.S.$515) a week for ballet dancers. help to fund dance. In the Netherlands, the government Table 3 provides dancer income figures by country. Note provides the majority of funding for dance; 65 percent of that the measurement of income (what is included and Dutch government funds for dance come from the federal what is not) varies substantially among countries in the government and 30 percent comes from municipal gov- table. Nevertheless, the conclusion can be drawn that in ernments. In Hungary, the role of state subsidy is decreas- most of the countries studied, dancers are not well remu- ing; and in Australia, there is a trend towards project- nerated when compared with other occupations requiring based support rather than recurrent general funding. In similar amounts of training. the U.S., where much of the government support for the arts is provided indirectly via tax deductibility of contribu- But the data in Table 3 do not tell the whole story. For tions to dance organizations, a 2000 “Dance USA” survey instance, an independent survey of dancers in France of 75 dance companies showed that direct government found that dancers’ average annual compensation has funding was only 4 percent of their total income. And in been decreasing as a result of shorter-term contracts, and Japan, 86 percent of arts support comes from local gov- because more employers have reduced the number of ernments. jobs they offer. The average term of a dancer’s contract dropped from 28 days in 1987 to about 7 days in 2000. Dancers’ Incomes. In the majority of the countries pro- As a result, while in 1987 French professional dancers filed, studies suggest that dancers are the most poorly worked an average of 95 days a year, in 2000 they paid artists. In Canada, among all artistic occupations, worked an average of about 60 days. the incomes of dancers were one of the lowest. In 2001, their annual average income was just CA$14,600 Finally, we also gathered information about each coun- (U.S.$11,100), or less than half the annual average try’s career transition programs and practices in our pro- income of CA$31,800 (U.S.$24,200) for the entire labor files, and found that a variety of programs play an impor- force. These low incomes can, of course, be increased in tant role in the career transitions of dancers in these coun- countries with substantial government support. For exam- tries. We devote the next section of the report to a sample, in the Netherlands, a highly state-subsidized country pling of those programs. where 55 percent of the dancers work full time, the mean annual salary in 2000 was € 27,600 (U.S.$34,000).

Because of their low average incomes, dancers are often forced to take on additional jobs, both inside and outside of the dance community, to supplement their earnings. In Australia in 2000-2001, dancers’ mean annual income from dance activity was AU$16,700 (U.S.$12,300), while their mean total annual income, including earnings from other sources, was AU$26,900 (U.S.$19,900). In Japan, dancers’ average salaries in 2000 were ¥3,397 million a year (U.S.$27,618) and median salaries were ¥2,500 million a year (U.S.$20,325), with less than one-fifth of the total income derived from dance performance.

PG 26 Making Changes HIGHLIGHTS OF COUNTRY PROFILES

Table 3: Income of Dancers in 11 Countries Country Year Amount Pay Period 24 Australia 2000-2001 AU$16,700 mean (U.S.$12,300) Year AU$12,900 median (U.S.$9,500) Canada 2001 CA$14,600 (U.S.$11,100) Year

Quebec 2002 CA$15,000 (U.S.$11,400) Year England N/A N/A N/A France N/A N/A N/A Germany 2003 €1,700 (U.S.$2,000)25 or 2,650–3,850 Month Deutsche Mark (DEM) (U.S.$1665–$2400) 26 for union dancers in the corps. €3,000–3,500 (U.S.$3,700–$4,300) for solo contracts. Commercial dancers earn €500–1,500 (U.S.$600–$1,800) per evening. Hungary 2002 HUF60,000–120,000 (U.S.$280–$560) Week Japan 1999 ¥3,397 mean (U.S.$27,618) Year ¥2,500 median (U.S.$20,325) Mexico 2002 600–6,500 pesos (U.S.$60–$650) for Month contemporary dancer in a subsidized company; 8,000–13,000 pesos (U.S.$1,300– $4,800) for classical dancer plus a quarterly bonus 15–20,000 pesos (U.S.$1,500–$2,000). Netherlands 2000 €27,600 (U.S.$33,700) Year Switzerland 2003 CHF3,800 (U.S.$3,000) for corps-de-ballet Month members of official companies; CHF2,500 (U.S.$2,000) for independents in short-term projects. U.S. 2000 U.S.$27,950 27 mean Year

24 Includes only creative income. 26 According to the Normalvertrag Tanz (Deutscher Bühnenverein, association of the- 25 As reported by the Federal Institute of Labor (Bundesantstalt für Arbeit), October ater employers). The salary range depends on qualification, position and age, with 2003. Regional and branch-related differences and additional payments may apply. lower salaries in eastern Germany. These salaries are only for group dancers; soloists negotiate their incomes individual- 27 U.S. Department of Labor, 2002. ly.

The aDvANCE Project PG 27 • In the Netherlands, in addition to a formal career transition center, the government’s “Income Provision Act for Artists” offers a basic allowance for a maximum of four years for artists just graduated from their retraining but Part One: IV who have not yet found steady employment.

• In Hungary, since 1997, citizens are entitled to allocate DANCER CAREER one percent of their personal income tax to cultural foundations, national public arts collections, or cultural insti- TRANSITION tutions. • Up until 1990, the National School for Classical Dance PROGRAMS AND of the National Institute of Fine Arts in Mexico, following the Cuban model, trained dancers on a dual track —as dancers and as dance teachers—so that transition from PRACTICES one role to the other flowed more naturally from their training.

AND THE FOUR • In the U.S., there are more than twenty performing-arts medical centers where dancers and other performers can TRANSITION CENTERS receive preventive care and treatment for dance-related injuries (dance-related injuries are, according to our survey data, a major reason that American artists retire from dance).

here currently exist a considerable number and • In Canada, the Al and Malka Green Artists’ Health variety of efforts to assist dancers at the end of Centre in Toronto’s Western Hospital, is a multi-discipli- T their professional careers. In this section, we first nary, integrated health care facility offering both medical describe generally some of the most significant programs. and alternative health care dedicated to creative and per- Then we take a look at the four existing transition centers. forming artists. The Centre is designed to have three com- Finally, Appendix A of Part Two of this report includes a ponents: patient care, research, and education for both listing of practices and programs outside the transition artists and practitioners. centers. • The international ‘Passport’ for dancers, instituted by Our sample of institutions has been selected to emphasize the European branch of the Federation of International useful suggestions, such as arrangements with nearby Actors (FIA, which is the worldwide umbrella organization universities to offer opportunities to the dancers to study of artists’ unions and guilds), is the result of a mutual for post-dance careers in fields other than dance, or agreement among unions to give dancers contractual and arrangements for interest-payment subsidies on loans legal help when performing in different countries. This is incurred in establishing new former-dancer-owned firms. an interesting model for international career transition The sample also indicates in several cases that dancer assistance. design and control of transition programs can materially increase their acceptability to the dancers as well as their • The Dancers Pension Fund in the U.K. serves as an effectiveness. However, it will also be clear that the pro- enviable model, in which dancers have early access to grams generally have many common elements such as pensions (they may receive pensions when they stop tuition payments, income subsidies and counseling, dancing, and do not have to wait until they reach age 65, which suggests that these activities are indispensable for the age at which the general workforce may receive pen- an effective transition program. The following examples sions). This model has already been adopted by at least illustrate some of these efforts: one U.S. dance company.

The aDvANCE Project PG 29 independent dancers across Canada regarding the estab- PART ONE: IV lishment and structure of a transition center; the survey was analyzed statistically and a report published; (2) a • A similar scheme in Germany allows ballet dancers to research trip to London, England, to meet with Margaret receive a lump-sum settlement if they retire from the pro- Lawford, then-administrator of the Dancers Resettlement fession during the season in which they reach age 40. Fund, to investigate that organization’s structure; and (3) a conference that brought together experts in the field • In France, new areas of government support include from both Canada and the U.S. funding for choreographers and dance studios. It was agreed that the DTRC was urgently needed, and a • In Australia, the dance service organization “Ausdance” nationwide search for appropriate resource professionals commissioned the compilation of a resource kit for was launched, a fund-raising campaign begun and a dancers in 1997; this is similar to the U.S. Dancers’ Board of Directors formed, with Karen Kain, Canada’s Survival Manual published by Dance Theater Workshop. prima ballerina, as president. At the same time, an Artistic Resource Committee was established. Most of the Next, we offer profiles of the four transition centers. The artistic directors in the country had been very supportive International Organization for the Career Transition of during the research phase. While not directly involved Professional Dancers, located in Lausanne, Switzerland, with the daily activities of the DTRC, the support of the also plays a leader’s role in this field. And a number of artistic directors was invaluable in creating the culture of other programs and schemes have been helpful in laying the its development. the groundwork for more formal transition initiatives. The DTRC formally opened on September 1, 1985 and offered a program that came directly from the results of DESCRIPTIONS OF THE FOUR FORMAL CAREER the research project described above. A membership sys- TRANSITION CENTERS28 tem was developed and five types of counseling—academic, career, financial, legal and personal—and post- (1) DANCER TRANSITION RESOURCE CENTRE, career retraining grants (as well as subsistence grants to CANADA (DTRC) dancers while they were in full-time retraining) were www.dtrc.ca offered. By 1994, the DTRC’s mandate was expanded to Source: Dancer Transition Resource Centre include transitions into and within the dance career as well as a great deal of networking and communication Mandate. The DTRC’s mandate is “to help dancers make activity. necessary transitions into, within and from professional performing careers.” Philosophy. The DTRC believes that the heart of the matter of transition for dancers is inextricably linked to the History. Founded in 1985 by Joysanne Sidimus, a former place of the artist in society. The arts, and dance in par- principal dancer of the National Ballet of Canada, the ticular, defy all commonly held beliefs regarding success. DTRC’s opening was preceded by a nine-month research In the dance world, it is perfectly possible to be at the project undertaken from December of 1984 to August of very top of the profession, yet not be earning a living 1985. Canada’s two national dance service organizations wage. With the exception of a few ballet companies and at the time—the Dance in Canada Association and the a (very) few modern groups and those individuals whom Canadian Association of Professional Dance circumstance have enabled to put together a mosaic of Organizations—agreed to co-sponsor the research, and creative work (performing, teaching, choreography, being funding was obtained from the Canadian Department of an artistic director), very few dancers can sustain the Communications, the Ontario Arts Council, and the intolerably low pay, the uncertainty, and the difficulties of Laidlaw Foundation. The research had three components: the performing life for very long without augmenting their (1) a survey of 258 dancers in 23 companies and 100 work with something else. The DTRC sought to deal with prevention rather than crisis, trying somehow to soften 28 The following descriptions of the four transition centers were prepared by the centers themselves at the request of the authors of this report (with some minor editing the depression, self-doubt, and difficulty with social tran- by us for consistency). We are very grateful to the centers for undertaking this task. sition that beset so many of the Centre’s early clients.

PG 30 Making Changes What emerged was the need to pay more attention to the CAREER TRANSITION PROGRAMS person who chooses dance as a profession from the very beginning, from the school years. The social framework of the dancer, the communal schooling, company life, and $280,000 (U.S. $204,000) from Employment and subservience to choreographic need or an artistic direc- Immigration Canada (later the Department of Human tor’s vision often narrowed the life of the individual Resources Development Canada) in 1990-1991, and had dancer, with the dance life becoming a surrogate for fam- sunk as low as $87,500 (U.S. $64,000) from Human ily, rather than just one part of a balanced existence. Resources Development in 1996-97. Funding has now These circumstances, unfortunately, do serve to the ben- stabilized thanks to the creation in 1997 of the National efit the art during the active dance career. No one can Arts Training Contribution Program (NATCP) under the deny the necessity for intense concentration, focus and Department of Canadian Heritage, from which the DTRC devotion to one’s art, but the question kept arising: At has received $550,000 (U.S. $400,000) annually since what cost? April 2002. The Center also receives individual, foundation, and corporate donations, and has produced many These issues and explanations provided the basis of the successful galas and fundraising events. It is still, howev- initial form the DTRC’s programs and services took. er, a constant struggle to meet the needs of the dancers Unlike most professions, the dancers had little or no in this ever-changing economy and ecology. choice in any of their lifestyle decisions. It was deemed most important to return the decision-making to the indi- Programs and Services. The DTRC is a national organiza- vidual dancer. The DTRC designed a program that offers tion with offices in Montreal, Toronto, and Vancouver, as a diverse range of services, with members choosing the well as two national representatives and regional repre- services that they find most appropriate to their needs. It sentatives in Montreal, Winnipeg, Calgary, and Vancouver. was decided to (1) offer five types of counseling in the The DTRC is a member-based organization that is open to areas the dancers deemed most needed: academic, professional dancers only—members of dance compa- career, financial, legal, and personal; (2) provide retrain- nies, independent dancers, and artistic dance staff. ing grants and subsistence while dancers were in full-time retraining; (3) build a resource library in each of the • Counseling. The DTRC offers, free of charge, five types DTRC-represented cities; and (4) design, implement, and of counseling to members: academic, career, financial, continually update a DTRC website. legal, and personal. In-house counseling is part of the services the Centre provides and has constituted some 80 From the creation of the DTRC, it was also deemed most percent of the executive director and membership admin- vital to ensure that recognized dance professionals were a istrator’s roles since its inception. Also, psychiatric treat- significant presence as staff members, regional represen- ment in Canada is paid for completely by the government. tatives, board members and advisory council members. As many Canadian psychiatrists are also psychothera- The insularity of the profession determined that trust was pists, the DTRC has used this service to the degree that most readily granted to “one of their own.” This philoso- was warranted. In fact, in the first seven years of the phy, added to the self-help and autonomous decision- Centre’s existence, this service was the most highly used making process, formed the foundation of the DTRC’s service. Now that transition issues have become part of work. It is also carried through in the option to chose the normal discussion of a dance career, career counsel- freely between joining and not joining as a member that ing has superseded psychiatric counseling as our most distinguishes the DTRC from a union. This, too, was a widely used counseling service. Thus, it is impossible to desire expressed by the dancers. estimate with accuracy the dollar amount or total number of hours that the Centre has spent on counseling. Based Funding. The DTRC’s government funding, which is the only on invoiced hours of professional counseling outside backbone of the center’s financial stability, has fluctuated the DTRC office, since 1985, the Centre has provided over the years. Commencing with an initial $500,000 $98,403 (U.S. $72,000) worth of counseling ($54,710 (U.S. $364,000) grant over three years from the [U.S. $40,000], of which was for career counseling, to “Innovations” program under the Canadian Department of 257 dancers in Canada, Germany, Switzerland and the Communications (later the Department of Canadian U.S. During that period, counseling expenditures have Heritage), the DTRC’s annual funding has been as high as increased, on average, by 159 percent per annum.

The aDvANCE Project PG 31 other pertinent sites. The Centre also publishes a newslet- PART ONE: IV ter three times per year.

• Dancer Award Fund. Retraining remains an integral part • Conferences and Seminars. The need for awareness at of a successful transition. Grants for retraining and sub- an earlier time in a dancer’s career produced On the sistence while in full-time retraining are available for eli- MOVE, the DTRC’s annual conference for professional gible members, both while the dancer is still performing students entering the dance world. On the MOVE is and upon retirement. To date, the DTRC has provided designed to assist dancers in their transition from student 352 dancers with $3,019,150 (U.S. $2.2 million) for to professional. Besides offering practical workshops, the retraining and subsistence in Canada, China, England, conference gives these students the rare opportunity to France, Germany, Italy, Sweden, Thailand, and the U.S. In interact with their peers from other dance disciplines, 2002-2003, the Centre awarded $314,226 (U.S. prominent dance professionals, and representatives from $230,000) in grants and subsistence to members. dance service organizations for information sharing and networking. The DTRC’s regional offices and representa- The DTRC has found that, with appropriate counseling, tives also organize conferences and seminars across the dancers can discover other passions in their lives, as country with major conferences taking place through our attested by the diversity of the following fields some of our national office in Toronto. dancers have chosen for retraining: animation, architecture, art history, arts administration, biology, business, • The Al and Malka Green Artists’ Health Centre. cabinet making, chiropractics, computer graphics, coun- Another of the DTRC’s projects (and subsequently its own seling, graphic design, economics, education, environ- foundation, the Artists’ Health Centre Foundation), the mental studies, fashion design, film, gemology, homeo- Artists’ Health Centre, opened its doors in November pathic medicine, horticulture, marketing, massage thera- 2002 at the Toronto Western Hospital. Based on an idea py, medicine, osteopathy, photography, physics, physio- by Joysanne Sidimus, which came from many consulta- therapy, psychology, quilting, radio and television arts, tions with artists, the Artists’ Health Centre has been an seminary studies, stage management, and web develop- integral part of the work of the Centre for almost ten ment. An indicator of the success of the program is the years. It is a multi-disciplinary, integrated healthcare facil- fact that all grant recipients who finished their retraining ity dedicated to creative and performing artists and in 2002-2003 were working professionally in their fields includes a fully functional dance studio with ceiling- and many of our alumni have received awards, both as mounted video cameras for diagnosis, a music studio, an students and in their new profession. office for mental health consultations and five clinical offices. The Centre is designed to have three components: The DTRC also provides skills grants of up to $1,000 patient care, research, and education (both for artists and (U.S. $730) for courses in skills that are transferable to practitioners). any profession. These grants are available to all members in good standing. • Community Outreach and Advocacy. The DTRC is sen- sitive to the ever-changing needs of Canada’s dance com- • Resources. The DTRC operates a fully functioning munity. Since its inception in 1985, the Centre has been resource center that houses a library of career and transi- an advocate for the socio-economic welfare of the artist tion-related materials, research resources, and a comput- and continues to be a strong voice in the arts community. er with Internet and printer access. Members have access The DTRC works with, and is represented on, the boards to Connections, the DTRC networking directory designed of other arts organizations and participates in confer- to be a valuable tool for dancers in their search for both ences, symposiums, and government meetings to this parallel and second careers. The directory lists dancers end. who are working in a variety of fields (both dance and non-dance related) and who are willing to act as mentors Future Goals. The DTRC is in the process of preparing its to dancers considering retraining. The DTRC’s website at three-year business plan for 2005-2008. Although not www.dtrc.ca offers grant information and forms, insightful yet finalized, some of the plans include (1) increasing the articles, and links to other arts service organizations and Quebec office hours to full-time; (2) expanding the On the MOVE student conference to Quebec, with smaller ver-

PG 32 Making Changes sions in other provinces, depending on need; (3) increas- CAREER TRANSITION PROGRAMS ing DTRC’s skills grants from $1,000 to $1,500 [U.S. $730 to $1,000]; (4) a national 20th Anniversary survey that is being developed for the DTRC by Hill Strategies (2) In the Centre’s experience—through counseling and Research for Fall 2004; (5) a three-day conference, two national surveys (carried out in 1984 and 1995), as planned for April 2005, that will focus on parallel careers well as the annual regional representative meetings— and transition issues facing dancers while they are still dancers see their futures in the same way they viewed performing; (6) moving to expand the DTRC’s national their dance careers: (a) they define their desired goal as a office space, which the Centre will share with the Artists’ career, not a job; (b) they see financial remuneration as Health Centre Foundation; and (7) a major gala planned important but not primary; (c) they want a career which for 2005-2006 (the 2002 gala raised $240,000 [U.S. engages them passionately—as dance did; and (d) many $175,000]. want higher education (Bachelor’s degree or higher). See the table below, which shows numbers of degrees earned Conclusions. After almost 20 years, the DTRC has or being earned by dancers with DTRC full retraining and observed the following tangible results in Canada. subsistence grants (for full retraining and subsistence grant recipients). (1) The issue of transition—once taboo, never discussed or dealt with—is now acknowledged as a routine part of a dancer’s life.

Degrees earned or being earned by dancers with DTRC full retraining and subsistence grants* Bachelor of Arts 16 Master of Arts 5 Doctor of Medicine 3

Bachelor of Commerce 1 Master of Dance 2 Doctor of Chiropractic 1

Bachelor of Fine Arts 2 Master of Fine Arts 2 Certified Accountant 1

Bachelor of Environmental Studies 1 Master of Business Administration 1

Bachelor of Science 8 Master of Science 2 Bachelor of Physiotherapy 3

Full Grant Alumni 95 Members on Full Grants 10 Total 105

* Does not include the many diplomas and certifications earned that are not university-based. Several additional degrees were earned after DTRC funding was completed.

The aDvANCE Project PG 33 (5) Traumatic incidents—such as drug overdoses, sui- PART ONE: IV cides and the necessity for admittance to alcohol and drug rehabilitation programs—all of which were visible in (3) In the DTRC’s experience, most of the dancers have the first five years of the DTRC’s existence, are now a entered careers that are entrepreneurial or professional non-issue. and rarely dance-related (see the breakdown of fields entered in the graph below).

Number of Grants Awarded from 1985-2004 Health Related: 106 grants approved in Fitness, Homeopathic Based on Field of Study Medicine, Massage Therapy, Medicine, Movement Therapy, Occupational Therapy, Osteopathy, Physical Education, Physical Dance Therapy, Physiotherapy, Pilates, and Yoga. Related Other: 85 grants approved in Carpentry, Communication, Computers, Arts Related 8% Academic 19% Cooking, Fashion, Gemology, Horticulture, Interior Design, Marketing, 19% Media, Pilot, Public Relations, Real Estate, Small Business Management and Spiritual Development. Academic: 68 grants approved in Business Administration, Education, Environmental Studies, Law, Psychology, Psychotherapy, Science and Theology. Arts Related: 66 grants approved in Acting, Arts Administration, Art Health Other Direction, Film / Theater Production, Make-Up/Aesthetics, Music, Related 24% Photography, Theater/Film, and Visual Arts. 30% Dance Related: 27 grants approved in Choreography, Coaching/Mentoring, and Instruction.

(4) The need for transition awareness at an earlier time (6) The level of understanding of the DTRC’s counselors produced On the MOVE, the DTRC’s program of confer- has dramatically increased. When the Centre was found- ences for professional students entering the dance world, ed, most counselors came from the sports world or were a program that is extremely successful. Eighty students university-affiliated. While the DTRC continues to work attended in 2001, 80 attended in 2002, 113 attended in closely with universities, the counselors now have a far 2003, and 100 attended in 2004. The year 2004 also deeper awareness of the complexity of the transition issue saw the inauguration of the DTRC’s mentorship program, as a result of 20 years of work. Some counselors are for- which had 60 participants. mer dancers who have retrained as psychiatrists, social workers, and so on. One conference was held in Vancouver as well this year, with 50 students in attendance, and one is planned for The existence of the DTRC and of the dancer career tran- Quebec next year. The professional dance schools—such sition centers in the U.K., the Netherlands and the U.S. as the National Ballet School and the School of Toronto has changed the ecology of the dance world in the coun- Dance Theatre—have also instituted programs that com- tries where they exist. It is the Centre’s hope that many plement these conferences. Clearly, there was not enough more centers will appear in the near future. information about the reality of the dancer’s career before On the MOVE was started. The results are already evident in the 16 percent increase in DTRC membership of dancers who are in their first year of company and independent work.

PG 34 Making Changes (2) THE DUTCH RETRAINING PROGRAM FOR CAREER TRANSITION PROGRAMS PROFESSIONAL DANCERS, STICHTING OMSCHOLINGSREGELING DANSERS (SOD), THE NETHERLANDS The Retraining Fund was set up by mutual agreement www.kunst-cultuur.nl between representatives of the artists’ union and the Source: Dutch Retraining Program for Professional dance companies and was integrated into the Collective Dancers Labor Agreement. The board of the Fund consists of representatives of the Employer’s Association, the Artists’ Mission. Because of the severe physical and technical Union and an independent chair. The initial regulations of demands of the art form, the career of a professional the retraining program were designed to supplement the dancer is relatively short. In general, dancers have to ter- legal framework of the Unemployment Act. Specific minate their careers well before the age of forty. In order arrangements with the Nieuwe Algemene to keep up with the high standards in this profession, the Bedrijfsvereniging, the organization responsible for career of the dancer is intense and focused. To prepare administration of unemployment benefits, enabled oneself during the career for the inevitable transition is dancers to retrain while receiving an unemployment ben- therefore nearly impossible. At the same time, the dancer efit. The SOD reimbursed the dancers for their study who stops dancing is still comparatively young and faces expenses and paid a supplement beyond the unemploy- the challenge to acquire a new place in society. Support ment benefit. The average length of the reschooling peri- and guidance are a necessity. The mission of the Dutch od was three and one-half years, during which dancers Retraining Program for Professional Dancers (SOD) is to received in total approximately 80 percent of their last offer support for dancers during each phase of the transi- earned salaries. tion process. The SOD provides counseling services, particularly career counseling, and financial support. Major changes in the social security legislation in 2000 had significant consequences for the administration of the Career counseling is adapted to all aspects of the dancer’s SOD. The duration of the benefit was cut back and the career and the choice of a second career. Financial sup- period one was allowed to study while receiving an unem- port is directed toward reimbursement of retraining costs ployment benefit was reduced to one year. These meas- and the guarantee of a certain income during a limited ures jeopardized the existence of the SOD. Two elements period of time. played an important role in the struggle for survival: first, the massive support of the public, politicians, dancers History. The history of retraining support for professional and dance companies, and second, the success rate of dancers in the Netherlands dates back to 1979. In that the SOD thus far. Compared to general (government) year, the so-called Social Institute for Dance (Sociaal measures to reduce unemployment, the SOD had proven Instituut voor de Dans) was founded. This institute provid- to be far more successful. As a result, the SOD was granted several types of counseling, both to dancers who were ed additional subsidies from the Ministry of Education, still performing, as well as to dancers who had reached Culture and Science, the Ministry of Social Affairs, and the end of their careers. No financial support was avail- the Stichting GAK Nederland b.v. able yet. Still, the benefits offered by the SOD had to be complete- In 1986, the Dutch Ministry of Culture donated one mil- ly redesigned. The main question was how to provide lion guilders (approximately € 455,000 [U.S. optimal support to dancers while taking into account the $553,000]) to the dance companies’ employers associa- limits of the available budget of the program. In consultation. This was made available to allow the Dutch dance tion with the Artists’ Union (FNV – KIEM) and the companies to start the retraining fund. After a number of Employers’ Association (DOD), a new set of regulations years of lobbying by dance companies, unions, and other was developed and became effective as of January 2004. dance-related organizations, the Dutch government had become convinced that a relatively small investment Programs and Services. The SOD is a national organiza- would enable the dance world to solve the problems of tion with offices in The Hague and Amsterdam. transition of dancers by itself. Counseling services are provided to professional dancers and dance students, and deal with questions about career

The aDvANCE Project PG 35 tions. Dancers who terminate their careers after five years PART ONE: IV and who have provided a minimum of 48 premiums to the SOD can apply for a second type of grant that consists planning, career transition, social security, foreign law, of reimbursement of study costs to a maximum of finance, and health issues. No specific eligibility criteria € 2,500 (U.S. $3,000) per annum for a maximum peri- are required. od of four years.

Financial support. The SOD offers financial support to Retraining may commence before the dancing career has dancers who wish to retrain and who meet the eligibility been terminated, but, for the first type of grant, it has to criteria. The facilities offered are customized to the appli- start no later than 12 months after the date when the cants’ needs and career choice. A maximum personal dancing career has ended, or no later than 24 months for budget is determined and is differentiated among recipi- the second type of grant. ents on the basis of career length and last earned salary. To become eligible for financial support, dancers, togeth- Dancers who decide within three months of terminating er with their dance companies, must contribute a certain their dance career that they intend to settle permanently amount to the SOD. Dancers who work in structurally abroad may apply for a lump-sum grant. The sum is subsidized companies automatically join the SOD. The equivalent to four times the last earned monthly salary. In employer contributes 2.5 percent and the dancer pays addition, study costs can be reimbursed to a maximum of 1.5 percent of the dancer’s gross salary. The total € 2,500 (U.S. $3,000) per annum for a maximum peri- amount, 4 percent, is considered a single premium. If it od of four years. is paid independently, the dancer pays the total amount, or 4 percent of his or her gross salary. Funding. Structural funding by the Ministry of Education, Culture and Sciences and the contributions made by Because of the intense and demanding nature of a danc- dancers and companies are the backbone of the Dutch ing career, most dancers cannot submit retraining plans retraining program. In total, the SOD receives € 710,000 immediately after they have terminated their careers. (U.S. $864,000) annually from the Ministry of Culture. They can apply for a supplement to an unemployment The total of contributions by the dance companies and benefit or to their new incomes if they have found job. dancers add up to an amount of approximately Every three months this supplement is gradually € 340,000 (U.S. $414,000) per annum. decreased. During the first three months, the benefit (or other income) will be supplemented up to 95 percent of A non-recurring subsidy was provided by the Ministry of the last earned salary, then after another three months up Social Affairs and the Stichting GAK Nederland b.v. in to 90 percent, then to 85 percent until the level of 70 per- 2001. These amounts added up to approximately cent has been reached. € 610,000 (U.S.$742,000). In addition, the SOD receives an annual contribution from the Artists’ Early When a dancer submits a study plan within twelve Retirement Scheme of approximately € 175,000 (U.S. months after the dance career has been terminated, a $213,000). grant can be made available that includes reimbursement of study costs and subsistence. The length of the dancer’s Closing Remarks. Over the years, the SOD has acquired active dance career, the dancer’s last earned salary and a prominent place in the dance field in the Netherlands. the contents of the study plan determine the size of the It has proven to be very successful. More than 80 percent grant. The average amount available for the full retraining of the retrained dancers have been able to find employ- of an individual dancer is € 85,000 (U.S.$103,000). ment within one year after they were retrained. This amount can be directed to study costs, subsistence, and even capital investment if a former dancer decides to The facilities offered by the SOD are greatly appreciated start his or her own business. Dancers are eligible for by dance companies and individual dancers. Discussion these types of support if they have been dancing for ten of transition issues is no longer taboo, and dancers feel years and have paid at least 72 contributions to the SOD. that they are offered an opportunity to create a new future Dancers who retire for medical reasons are eligible after after their dancing career. eight years of dancing and a minimum of 60 contribu-

PG 36 Making Changes Dancers learn about the program through information CAREER TRANSITION PROGRAMS leaflets, meetings, and through the reputation of the program itself and its staff. Programs and Services. DCD was founded by Peter (3) DANCERS’ CAREER DEVELOPMENT (DCD), Williams OBE in 1974, as the Dancer’s Resettlement U.K. Fund, under the joint sponsorship of the then Arts Council www.thedcd.org.uk of Great Britain and British Actors Equity Association to Source: Dancers’ Career Development give assistance in training or establishing a new career for dancers employed in what were then the “revenue fund- Mission and Philosophy. Dancers’ Career Development ed” dance companies. Funding from the Arts Council to (DCD) is the premier authority for retraining of profession- the then five contributing company members was al dancers in the United Kingdom. The organization’s mis- increased to provide an annual sum equivalent to five per- sion is to empower dancers in all dance forms to over- cent of the dancers’ salary bill, which was paid into the come the insecurities of a short professional lifespan by fund on an annual basis. Entitlement to benefit was orig- creating new careers built upon the distinctive strengths inally restricted to those dancers who joined the Dancers and transferable skills gained from the dancer’s perform- Pension Scheme, but following enactment of legislation ing experience. prohibiting employers from making membership in a pension scheme mandatory, this requirement was withdrawn. DCD is the only organization in the U.K. dedicated to pro- Since its inception, DCD has supported thousands of viding practical, psychological, and financial retraining dancers in the United Kingdom (England, Scotland, support for all dancers. DCD’s specialist consultants offer Wales, and Northern Ireland) with career-transition serv- unlimited emotional support to each individual at each ices, and has awarded more than 1,200 retraining grants. stage of the transition process and work on individually tailored career paths suited to each dancer’s needs, with Among the free, independent and confidential career tran- each program being strictly supportive rather than pre- sition services offered by DCD to all professional dancers scriptive. DCD exists to support the dance profession are career advice and transition counseling before, during through its holistic approach. Company dancers may and after completion of the performing career; emotional commence preparatory work for retraining while perform- counseling; career- related, résumé-writing and interview ing with the contributing dance companies. Similarly, workshops in dance companies and dance schools; psy- independent dancers are assisted with retraining courses chometric testing; individual employment support from to enable them to build up their second careers while per- independent consultants; referrals to other support organ- forming as dancers, thus ensuring a smoother transition. izations; and mentoring and networking programs. In DCD respects the dancer’s strong identity, which has addition, DCD provides retraining and business start-up been formed through many years of commitment, from grants to eligible professional dancers.30 training to performing.29 The organization reinforces the view that the transition process, in whatever direction it is Research has shown that awareness of the transition taken, is a continuation of a dance career rather than an process should start as early as possible, ideally during abrupt end of one career and an unrelated beginning of professional training for a performing career. In line with another. these findings, DCD recently added a school program to its workshop series to ensure that dancers nationwide are DCD’s work resulted in a successful Regional Arts Lottery informed and regularly updated on the transition services Programme (RALP) application, and in 2003, the organ- available to them. Artistic and company directors, school ization received a substantial grant for organizational principals and producers communicate with DCD to development to expand its outreach programs further, ensure that meetings with dancers from the contributing produce media information, and conduct research. companies, small to middle-scale dance companies, dance schools, and commercial production companies are held annually or biannually. In addition to these meetings, dancers are offered the opportunity to schedule indi-

29 A. Stuart, “An Explanatory Study and Extrinsic Factors Affecting Difficulties in 30 Career Transition for Professional Dancers,” London, 2003. Subject to grant eligibility guidelines and approval by DCD board of directors.

The aDvANCE Project PG 37 Trust Fund and the Society of London Theatres, as well as PART ONE: IV donations from other charities, foundations, and individuals. As a result, the Trust’s ability to provide assistance vidual one-to-one appointments with a specialist consult- has been limited and its grants are severely restricted. ant either in the DCD offices, over the telephone, or at a nationwide location. Dancers can also access additional In August 2000, the Dance Companies Resettlement information via DCD’s website and receive a triannual Fund and the Dancers Trust were combined as a regis- newsletter. A DCD survey conducted in 2003 showed that tered charity under the new name Dancers’ Career DCD- retrained dancers who were aware of the transition Development. The Board comprises nine contributing process at an earlier stage were better prepared and able companies’ representatives nominated from each compa- to consider their life choices while still enjoying an often ny’s Board to oversee the development of their dancers, long and fulfilled performing career, thus easing the trau- two from the Arts Council England, two from Equity, and ma often caused by unprepared transition. a number of independent trustees. A corporate trustee administers both divisions of DCD (Company & One Organization, Two Divisions. Dancers’ Career Independent Divisions) and the trustees are now the Development is separated into two divisions to guarantee Directors of the Board. maximum support to all dancers in the U.K. The Company Fund Division (previously the Dance Companies Grant Eligibility Guidelines: Criteria for Funding. Resettlement Fund) is today supported by nine major dance companies: Adzido Pan African Dance Company, • Company Division. To be eligible to apply for grant Birmingham Royal Ballet, English National Ballet, assistance through the Company Division, professional Northern Ballet Theatre, Rambert Dance Company, dancers must have completed at least eight years in the Richard Alston Dance Company, Phoenix Dance profession, five of those years with one or more of the Company, Scottish Ballet, and The Royal Ballet. Financial contributing companies (Adzido Pan African Dance (grant) support for dancers from the Company Fund Company, Birmingham Royal Ballet, English National Division is available to those dancers who have performed Ballet, Northern Ballet Theatre, Rambert Dance a minimum of five years out of eight with one or more of Company, Richard Alston Dance Company, Phoenix the contributing companies.31 Dance Company, Scottish Ballet, The Royal Ballet).

The Independent Trust Division, formerly known as the • Independent Division. Independent dancers (for exam- Dancers Trust, was established in 1988 as a registered ple, those dancing freelance or with medium- and small- charity to provide career transition support to all those scale classical, contemporary and ethnic dance compa- independent dancers who fell outside the company fund nies, musical theater, TV, film, and commercial produc- scheme. Traditionally, these dancers performed in medi- tions) are eligible to apply for grant assistance through the um- and small-scale independent companies, commercial Independent Division or for one of its bursaries32 if they productions, cruise ships, west-end musicals, theater, have completed eight years as a professional freelance and pantomime. Many of these productions can be cred- dancer, five of which have been performed in the U.K., ited with encouragement of new, innovative work, for act- and worked at least four months in each of the last three ing as a springboard for emerging performing and chore- years of employment as a dancer. ographic talent, for promoting ethnic diversity, and for touring their shows to the regions and smaller theaters. Dancers who wish to apply for grant assistance to either They are a vital element of the dance world, play a cru- of the two divisions and who do not fulfill the above cri- cial role in generating income for the leisure and tourist teria because of earlier retirement caused by injury or ill- industry, and contribute to an all-important cultural her- ness are eligible to apply on medical grounds subject to itage. The Independent Trust Division has no regular con- appropriate medical reports.33 tractual funding, so it is entirely dependent on voluntary contributions from regular supporters such as the Equity 32 For example, Leslie Edwards bursary. All bursaries are offered on a regular basis and advertised in a relevant medium. 33 To prove early retirement due to injury or illness, two doctors’ certificates are required (one from a doctor who managed the treatment and one from an independ- 31 Subject to grant eligibility guidelines and approval by DCD board of directors. ent consultant).

PG 38 Making Changes Funding Given to Dancers. Training and business start-up CAREER TRANSITION PROGRAMS grants are just two of an extensive number of career and transition services offered by DCD. Grants are a vital element of the career support package, as they enable four years. DCD currently provides career support to 170 dancers to gain the qualifications needed to obtain sus- dancers who are working at different levels in their career tainable employment in an area in which they excel path and receives approximately ten new inquiries from (either inside or outside of the profession). Accredited dancers each week. qualifications enable the dancer to create employment opportunities for others through successful business Dancers’ New Careers. DCD retrained dancers have enterprises. They also enable the dancer to become a become successful artistic, administrative and finance service provider in an area where there is a high demand directors, choreographers, administrators, artistic staff, from the general public. They thereby act as role models dance teachers, and company managers in the majority of for young dancers who are entering the profession. U.K. dance companies, dance schools, dance organiza- Dancers are highly employable and extremely focused tions, and university departments, and many more are and they possess many valuable transferable skills such working in similar positions worldwide. However, career as high motivation, self-discipline and commitment. choices and interests among dancers in transition and already retrained dancers are diverse, and only a minori- Today’s dance students are supported by the professional ty choose to remain in professions directly linked to the dance schools through their academic programs; compa- dance industry. Most career paths are primarily not ny dancers and independent arts-related dancers are dance-related and include a vast number of professions offered Continuous Professional Development (CPD) in within and outside the arts world. In the past ten years, dance by the companies and the Arts Council England. DCD retrained dancers have chosen from a broad career There is, however, a lack of funding for those dancers not spectrum that includes, among others, actors; designers falling into the categories mentioned or those who wish to (for example, stage, fashion, computer, gardening, graph- obtain an accredited professional qualification either ic, interior); fitness instructors (for example, Pilates, gyro- inside or outside the dance profession. DCD is working tonics, Alexander technique, personal training); physical hard to re-address this imbalance. therapists (for example, acupuncture, physiotherapy, osteopathy, sports counseling, reflexology, massage, The key elements required for successful new career cranio-sacral therapy, Rolfing, and other alternative); and paths are educational advice, individual support, and other professions as diverse as accountancy, advertising, grant assistance. DCD grants are not means-tested and animal care, antique porcelain restoration, architecture, offer successful applicants the opportunity to acquire aca- ballet-shoe making, beauty therapy, Benesh notation, bio- demic undergraduate and post-graduate degrees and physics (Ph.D.), business studies, cake/confectionery vocational qualifications (for example, BTEC, NVQ making, carpentry, catering, ceramic restoration, comput- Certificates, and Higher National Diplomas) related to er programming, disk jockey and sound engineering, doll their career choice. Successful retraining often requires making and restoration, driving-school instructor, dry other supporting elements and dancers in transition can stone walling, environmental protection, ethnomusicolo- apply for funding towards course materials, travel, child- gy, floristry, hairdressing, horticulture, journalism, lan- care, and maintenance during the study period. Business guage studies, law, make-up artistry, musical instrument start-up grants can include relevant preparatory courses, making, photography, plumbing, psychology, piano teach- driving lessons, computer and business management ing diploma, picture framing, plant nursery, radio broad- training, computer equipment, as well as business equip- casting, speech therapy, theater archiving, travel and ment (for example, tools, office and studio equipment and tourism studies, tree surgery, and wig making. machines). Awards are closely monitored and a career consultant is available throughout and after the study DCD has achieved excellent success rates among period. retrained dancers. A survey conducted in 2003 showed that more than 93 percent of all dancers who retrained DCD approves an average of 65 grant applications for with the support of DCD over the past 30 years are still training from Independent and Company Division dancers working in the same profession they retrained for, and 95 each year, with courses lasting from several months to percent have found their current employment as a result

The aDvANCE Project PG 39 Dancers’ Career Development strives to widen awareness PART ONE: IV in the dance community that the transition process is a natural part of a dancing career and provides dancers of their retraining.34 Most important, the organization’s with exciting outlooks and opportunities to contribute and work is a vital tool in enabling dancers to experience a use their manifold talents within and outside the dance smooth transition from one profession of their choice to and arts world. another, thereby ensuring that they do not suffer emotional trauma, financial hardship, or have to depend totally on (4) CAREER TRANSITION FOR DANCERS, INC. state benefits at the end of their performing careers, but (CTFD), U.S. continue to contribute to our society through an excep- www.careertransition.org tional variety of career paths and professions. Source: Career Transition For Dancers, Inc.

Future Goals of the Organization. DCD’s 2003 RALP History. In 1982, with the assistance of several founda- award allowed the organization to begin an exciting orga- tions and unions, including the National Endowment for nizational development program, which, among other the Arts, the AFL-CIO’s Labor Institute for Human projects, resulted in the design of a fundraising strategy, Enrichment, and the Actors’ Equity Association (under the marketing strategy, and a five-year development plan for leadership of Agnes de Mille), funding was provided for a the organization. Among the prime targets are the expan- conference on career transition for dancers. The confer- sion of the workshop series to reach dancers in all dance ence, convened on June 8, 1982 at Lincoln Center in forms and stages of their performing careers in order to New York City, was spearheaded by an advisory commit- keep them informed and educated about the opportuni- tee made up of professionals within the U.S. dance com- ties and challenges ahead. munity and led by project director Edward Weston (now retired western regional director of Actors’ Equity DCD is also in the process of updating its information Association), chairman Richard E. LeBlond, Jr. (then materials, launching a regular newsletter and making all president of the San Francisco Ballet Association), and information available online via the website. The website honorary chairman Agnes de Mille. itself will undergo an update to make it more interactive and up-to-date and provide networking opportunities for The purpose of the conference was to recognize and dis- DCD’s clients and business partners. The year 2004 will cuss the trauma facing professional dancers both during, also witness the launch of DCD’s “Directory of Retrained and at the end of their careers, with the goal of consider- Dancers,” which will be made widely available and help ing ways of assisting them into professions that would dancers already established in post-performing careers to make use of their unique backgrounds, talents, and skills. promote their businesses or services, not only to other As a result of these discussions, it was unanimously dancers but also to a wider market. agreed that exploration of alternative or additional careers from a dancer’s earliest days of training and performance DCD is also building up partnerships with training organ- was critical. To this end, many questions were raised: izations traditionally highly attractive for dancers. The first What is transition? What is the full scope of this problem? partnership with Body Control Pilates35 has recently been Is assistance to dancers who can no longer dance a form initiated and offers exciting opportunities for dancers, as of charity or a right to which they are entitled? In response well as easing the financial pressures besetting the to an open dialogue on the part of participants, including Independent Trust Division (which have been caused by Margaret Lawford of the British Dancers’ Resettlement the combination of a continuous rise in applications from Fund, a consensus was reached on initiating a fund-rais- independent dancers and the standstill in the funding cur- ing effort to permit establishment in the U.S. of a model rently available). Furthermore, DCD is carrying out an program with which to begin the process of assisting extended fundraising strategy and exploring other avenues dancers through career transitions to rewarding new pro- to achieve financial stability for the Independent Trust. fessions. Thus, in 1985, Career Transition For Dancers, Inc. (CTFD) was born in New York City, with generous seed money from Actors’ Equity Association, American 34 These figures exclude retrained dancers above the statutory retirement age of 65. 35 Body Control Pilates offers a limited number of annual scholarships to DCD Federation of Television and Radio Artists, American Guild Independent Trust Division dancers.

PG 40 Making Changes of Musical Artists, and the Screen Actors Guild—whose CAREER TRANSITION PROGRAMS recognition and funding continues to this day.

Mission and Philosophy. The special feature of CTFD is takes CTFD’s services “on the road” to cities with a signif- self-empowerment: helping dancers—from prominent icant dance presence. CTFD has worked with dancers in dance companies as well as musical theater, Las Vegas Seattle, Washington; Boise, Idaho; Eugene and Portland, shows, industrials, and the television and film industries, Oregon; Boston, Massachusetts; Miami, Florida; Atlanta, nationwide--determine for themselves the steps they will Georgia; San Francisco, California; and Chicago, Illinois. take on their own behalf. By making its services dancer- As a result of the success of this touring enterprise, CTFD driven, CTFD encourages dancer-initiative and independ- is reaching out to local dancers affiliated with metropoli- ence. tan area dance companies, as well as to pre-professional dance students at universities, conservatories, performing Whether dancers are novice professionals, seasoned arts high schools, and dance company-related academies artists at the height of their powers, or performers on the (for example, New York City Ballet and the School of brink of retirement, CTFD’s goal is to keep them “on their American Ballet, American Ballet Theatre, Adelphi feet”—as performing artists, as curious, inquiring people University, LaGuardia High School for the Performing and, when the time is right, as professionals possessed of Arts, The Juilliard School, The Ailey School, and all the qualities and skills needed for success a second Columbia University). time around. As the only arts-service organization in the U.S. dedicated solely to the enrichment of dancers’ post- CareerLine is CTFD’s national toll-free telephone number performing years, CTFD recognizes that dancers possess that provides dancers with individual guidance and refer- the assets and growth potential that every employer seeks rals regardless of geographic location. During 2002 and and that entrepreneurial ventures demand. CTFD is, 2003, this service provided 141 dancers in 26 states and therefore, committed to a mission that strives to empow- Canada with more than 195 hours of individual career- er current and former professional dancers (as well as counseling and professional referrals. CTFD’s comprehen- their pre-professional counterparts) with the knowledge sive website, www.careertransition.org, offers dancers a and skills necessary to determine their career possibilities complete description of its services and resources, grant clearly, and to provide the resources necessary to help eligibility guidelines,36 dancers’ success stories, and help- make these possibilities a reality. In recognition of its con- ful links. tinued fulfilment of this mission, CTFD was presented with the Capezio Dance Award in 2001 for “significant CTFD’s National Networking Directory, a networking and contributions to dance in the U.S.” mentoring publication first published in 2002, is supported by hundreds of successfully reestablished dancers who Programs and Services. CTFD has a main office (found- are available to their peers for guidance and encourage- ed in 1985) in New York City and a branch office in Los ment via e-mail. Computer literacy instruction is offered Angeles (established in 1995), through which it serves without charge in New York City at Marymount dancers nationwide and provides a broad range of cost- Manhattan College, School of Continuing Education. In free innovative services and resources. These include Los Angeles, computer classes are held in-house at individual career counseling and related experiential sem- CTFD’s office. Direct mail to our entire constituency inars, workshops, and support and focus groups. Since its includes annual fund-raising appeals and MovingOn, inception, CTFD has provided more than 2,600 dancers CTFD’s biannual newsletter that keeps more than 6,000 in 47 states and Canada with approximately 35,000 hours of various forms of career counseling. Also available 36 CTFD’s eligibility guidelines for individual career counseling are the following: (1) the dancer must be at least 27 years of age, a requirement that may be lowered are limited educational scholarships for undergraduate depending upon the age at the start of the professional dance career or career-ending and graduate degrees, specialized training leading to injury or illness; ( 2) the applicant must provide a chronology of employment as a dancer showing 100 or more weeks of paid employment in the U.S. over a period of vocational certification, and grants for entrepreneurial seven years or more. The performing years need not be consecutive or current; (3) for endeavors. financial grants, the applicant must meet the above requirements for career-counseling and also provide documentation with proof of a minimum $8,000 earned, arrived at by averaging the annual gross income of the seven highest earning years of a performing dance career. Proof of 100 or more weeks worked under union jurisdiction The CTFD’s National Outreach Program (NOP)—an inno- also satisfies the minimum $8,000 requirement requirement; documentation of annu- vative two-day career-counseling seminar initiative— al earnings is not required.

The aDvANCE Project PG 41 ing, real estate, social work, stage management, televi- PART ONE: IV sion and theater direction and production, theology, violin restoration, and zoology. clients and alumni, funders, prospects, and friends up-to- date on CTFD’s annual gala benefit events and the every- Future Goals of the Organization: A Three-Year Vision. day activities of the organization. Underlying the mission of CTFD is a three-fold purpose that is rooted in the importance of crisis prevention and Funding Given to Dancers. CTFD’s educational scholar- facilitation of change by: (1) helping dancers realize that ships are a hallmark of the organization, offering signifi- transitions from one career to another are normal, devel- cant support to dancers from all disciplines and perform- opmental stages in anyone’s life; (2) educating dancers ing venues. Education is a prerequisite for most new (and their artistic directors, teachers, and families) as careers, and CTFD’s grants provide eligible dancers with early in their training and careers as possible about the funding that helps make it possible to earn undergraduate necessity of planning for their inevitable transition; and and graduate degrees, vocational certification, or acquire (3) assisting them in this process with the means to help substantial new skills. These grants bridge the gap fulfill the educational goals that are so important for between various sources of funding and loans, often mak- attainment of rewarding futures. ing the critical difference between being able to complete an education and being forced to postpone it indefinitely. For these purposes, CTFD looks to the future, seeking to During 2002 and 2003, CTFD awarded 474 grants to sustain and build upon successful programs, as well as dancers in 27 U.S. states and Canada, with scholarship initiating new models that will bring the process of career grants totalling $550,783. CTFD has, since 1985, transition to an ever higher level of acceptance and awarded more than $1.7 million in educational scholar- achievement. This includes maintaining National (and ships toward tuition, books, and related expenses, enrich- local) Outreach Project collaborations that have proven ing the lives of hundreds of dancers who are attending, or their value via dancers’ evaluations and renewed invita- have graduated from, more than 170 colleges, universi- tions for the organization’s services. ties, conservatories, and certification programs, both in the U.S. and abroad. The outstanding results of CTFD’s career-counseling seminars at the Pacific Northwest Ballet, Oregon Ballet Dancers’ New Careers. The exceptional accomplishments Theatre and Eugene Ballet, Ballet Idaho, Boston Ballet of CTFD’s clients reflect the diversity of the dance com- Company (and these organizations’ affiliated schools), as munity at large and the wealth of talent among its mem- well as local initiatives with New York City Ballet, bers. Their successful transitions to new careers—which American Ballet Theatre, The Juilliard School, Adelphi are primarily non-dance related—include a broad range University, The Ailey School, and School of American of professions from A to Z: for example, advertising, agri- Ballet have motivated the organization to begin planning culture, architecture, composing, environmental and for establishment of a CTFD chapter in every dance com- landscape design, arts management, art, music, occupa- pany, college, university, conservatory, performing arts tional therapies, aviation, bridal consulting, career coun- high school, and dance company-related academy that seling, catering, civil, electrical, and recording engineer- CTFD has visited or will visit. With this in mind, two-day ing, computer technology and graphic and web design, seminars in 2004 are scheduled for the San Francisco corporate job training, costume, lighting, and set design, Ballet and dancers in the San Francisco Bay area, as well dance education and history, primary, secondary, and as the Joffrey Ballet of Chicago and dancers in the greater higher education, event planning, fashion, filmmaking, Chicago area, including members of Actors’ Equity, finance, firefighting and paramedic certification, foreign American Guild of Musical Artists, Screen Actors Guild, language translation, forestry, fund-raising, hair design and the American Federation of Television and Radio and cosmetology, interior design, international relations, Artists. journalism, law, marine biology, physical therapies such as reflexology, massage, personal training, Pilates, yoga, Newly inaugurated especially for dancers is a degree pro- the Alexander technique and Feldenkrais method, gyro- gram partnership with St. Mary’s College in Los Angeles tonics, aquatic training, medicine, performers’ employ- and a certificate program in Arts in Education at ment agency, pet care, photography, psychology, publish- Marymount Manhattan College in New York City. Looking

PG 42 Making Changes to the future, CTFD is working on the creation of educa- CAREER TRANSITION PROGRAMS tional partnerships for dancers at both Adelphi University and Columbia University. Among CTFD’s goals is the introduction of the innovative concept of career counsel- Since CTFD’s National Outreach Projects began in 2000, ing to schools as a course of study within their curricu- we have been encouraged by their success, which we lum. attribute to the expertise of career counselors whose experience is broad-based, with a focus on performers, and CTFD is also aggressively exploring every fund-raising dancers more specifically. As mentioned above, the avenue--corporate, foundation, and individual—for expan- National Outreach Projects take CTFD’s two-day career- sion of its program of annual and endowed educational counseling seminars to hundreds of dancers in cities scholarships. In addition to the Clarence Y. Palitz Jr. where dance, in every form, has a strong cultural pres- Scholarship Fund and the Rudolf Nureyev Educational ence. Based on dancers’ positive evaluations of the sem- Scholarship Fund, created in 2002, this major effort was inars, we have within the past two years, just begun to enriched in 2003 by the establishment of the Carmen explore local outreach. This has enhanced our mission to Diana Barth Educational Scholarship Fund and the Agnes include the advanced dance students and pre-profession- de Mille Educational Scholarship Fund. als at performing arts high schools, colleges and universities, conservatories, and dance company-related schools. Conclusions. In 2005, CTFD will celebrate 20 years of Although we do not yet have statistics for this new initia- service to professional dancers throughout the U.S. In this tive, both the National Outreach Projects and our local period of time, few changes in the dance field have been efforts have resulted in significant changes within the as dramatic—or as encouraging—as those related to dance community at large. Talk of career transition—once acceptance of, and preparation for, transition from dance so feared by dance company members as a threat to their to rewarding new professions. status as performers—is now out in the open. CTFD is gratified by a new willingness on the part of dancers, Individual and group career counseling in our bicoastal artistic directors, executive directors, dance school offices in New York City and Los Angeles has revealed administrators, and teachers to understand that preparing interesting facts about dancers’ hopes and goals for the for new careers is a normal and healthy part of life—any- future. As passionate about their current expectations as one’s life, not just that of a dancer. To promote this goal, they were as performers, dancers think of establishing CTFD welcomes increasing numbers of dancers to both of new careers rather than making do with ordinary “bread its branch offices for a process of self-examination, dis- and butter” positions. Although financial compensation is covery, and career pursuit in an environment of crisis pre- certainly a consideration, it is not as important as access vention. to affordable or employer-provided health insurance and career satisfaction. Ultimately, every client wants to attain the same satisfaction and excitement from a new career that he or she achieved onstage as a performer.

Higher education (for example, bachelors, masters, Ph.D. and M.D. degrees) and vocational certification and licens- ing are high on dancers’ lists of “must haves.” To this end, CTFD has awarded thousands of grants to dancers since 1985. The statistics are available for the period from 1997 through 2003. For that time period alone, they show that CTFD has awarded 1,245 educational scholarships and 130 grants for entrepreneurial ventures, with a total of 1,375 grants, in great part for non-dance-related study and careers. A further breakdown shows that only 7.3 percent of these grants were awarded for dance-related fields.

The aDvANCE Project PG 43 DANCERS’ CHARACTERISTICS AND CAREER MILESTONES

We begin with Table 4, which shows characteristics of Part One: V dancers in the three countries. We see that, in all three countries, between two-thirds and three-quarters of dancers are female, and the majority have formal dance FACING qualifications. These dancers are also better educated in terms of post-secondary-school qualifications than the respective population averages38 (in the U.S., for exam- TRANSITION: ple, three-quarters of dancers have post-secondary qualifications, while this is true of a little over half the general THE SITUATION OF population). And there is a remarkable similarity among the three countries in the ages at which dancers begin training, have their first professional engagements, begin THE INDIVIDUAL their professional careers and earn their first dance incomes. DANCER (SURVEY OF THREE COUNTRIES)

aving completed our survey of the transition centers, in this section we will study the state of H dance in the three countries that we were able to examine intensively and look at transition from the point of view of the individual dancers themselves. We conducted sample surveys of current and former dancers in Australia, Switzerland and the U.S., and in the following tables, we will summarize some of the most suggestive results derived from the surveys.37 It should be noted that the great majority of questions in our survey are independent of whether or not a transition center or other 38 In Switzerland it was, until recently, almost impossible to obtain a post-secondary transition arrangements exist in the country surveyed. education and train at the same time to become a professional dancer. Academic school schedules were very demanding and made no allowance for professional train- Thus, to the extent that dancers in the three survey coun- ing. Dance students usually had to choose either a professional dance education— tries are broadly comparable with dancers elsewhere, our generally outside the country—or a post-secondary school education. The result was that highly trained dancers often lacked academic education, while independent findings can be used in general terms as a basis for infer- dancers and choreographers were generally well educated but had started their formal dance training late and were, as dancers, often lacking in technique. See ence about other countries. Appendix B of Part Two of this report for the comments by Adrian Schriel on survey methods in Switzerland. The Swiss survey reported in these tables was carried out using respondents drawn mostly from subsidized theaters, many of whom are apt to 37 See Appendices B and C of Part Two of this report for a description of our survey have grown up and trained in other countries. See also the Switzerland country pro- methods and more complete results of the three-country survey. file in Part Two of this report.

The aDvANCE Project PG 45 PART ONE: V

Table 4: Dancers’ Characteristics and Career Milestones

U.S. Switzerland Australia (%) (%) (%) Gender: Male 28 26 31 Female 72 74 69

(%) (%) (%) Dance qualifications: Some formal qualification 60 78 82

(%) (%) (%) Highest general educational level: Completed secondary school 25 58 41 Post-secondary-school qualification 75 42 59

(years) (years) (years) Mean age at which: Began training 10 10 9 Had first professional engagement 18 20 18 Began career 19 21 20 Earned first income 19 21 20

(years) (years) (years) Mean age at transition: Current dancers: expected 41 41 47 Former dancers: expected 37 38 34 Former dancers: actual 34 35 32

PG 46 Making Changes FACING TRANSITION

Table 5: The Challenges of Transition (percent of dancers)

Current dancers’ expectations Former dancers’ actual experience U.S. Switzerland Australia U.S. Switzerland Australia

(%) (%) (%) (%) (%) (%) Reasons for stopping dancing (a) Too old 41 35 42 22 14 20 Financial 14 22 33 14 14 12 Health/injury 43 37 43 35 33 29 Desire for new career* 45 56 42 5 35 43

Awareness of challenges of transition 39 Very aware 83 59 70 34 48 35 Somewhat aware 15 27 23 47 36 35 Not aware _ 7 _ 71011 Haven't thought/ didn't think 28 712518 Total 100 100 100 100 100 100

Most serious challenge Physical problems 15 25 25 16 26 17 Loss of income 22 15 23 22 11 17 Uncertainty 24 18 12 16 3 22 Sense of emptiness 17 15 21 16 7 12 Other 22 27 19 30 53 32 Total 100 100 100 100 100 100

(a) Multiple responses permitted; *This response was not offered on the U.S. questionnaire; response rate may be misleading.

39 It is important to note here that we altered the answers on the U.S. questionnaire continued to fill in subsequent questions specifying how they became aware, we in the following way: If respondents did not answer “aware” or “somewhat aware” but changed their answers to “yes, somewhat aware.”

The aDvANCE Project PG 47 PART ONE: V

THE CHALLENGES OF TRANSITION

The reasons for ending the dance career are shown in the first section of Table 5. Among former dancers in Switzerland and Australia, the desire for a new career was the most prominent reason.40

However, this is perhaps not the result of a difference between current and former dancers in their perception of reality, but a reflection of increasing awareness of the issue with the passage of time. There is considerable variation between countries in the identification of the most serious challenges that transition presents, as shown in the bottom section of Table 5; the results suggest a fairly even spread in the incidence of physical, financial and emotional problems in the expectations and the experiences of different individuals.

WORK AFTER TRANSITION

Table 6 compares the work that current dancers would most like to do after transition with the work they think they will most probably do; for former dancers the comparison is between the work they most wanted to do and the work they have actually ended up doing. Note particularly that in all three countries, the preference for occupation after transition tends to focus on continuing to work somewhere in dance, especially in Switzerland and Australia—the proportions of current dancers in the U.S., Switzerland and Australia who choose some form of dance occupation (choreography, teaching, other) as their most preferred post-transition work are 26 percent, 51 percent and 48 percent respectively. In reality, in all three countries, the most likely way in which continuing contact with dance has actually been achieved by dancers post- transition is through employment as dance teachers. In all three countries, considerably more than half of former dancers have engaged in some teaching of dance in their subsequent careers. However, a teaching career must be viewed with some reservation. The former dancers reported that the satisfaction they derived from teaching was very low in all three countries studied. They may well do it only because they can and because the work is available.

40 While the table seems to suggest that health and injury problems were most significant for U.S. dancers, this is misleading. The apparent difference among the countries is attributable to the omission of the answer choice, “desire to switch to a new career,’ from the U.S. questionnaire. This omission clearly affected the percentage of answers that referred to health or injury.

PG 48 Making Changes FACING TRANSITION

Table 6: Work after Transition (percent of dancers)

Current dancers’ expectations Former dancers’ actual experience

U.S. Switzerland Australia U.S. Switzerland Australia

Work most preferred to do (%) (%) (%) (%) (%) (%) after transition Choreography 18 28 30 13 20 15 Dance teaching 3 11 3 6 28 15 Other dance related work 5 12 15 9 16 12 Other arts work 18 17 14 27 9 22 Work outside dance/arts 10 10 18 9 8 14 Further education 8 7 718810 Domestic/leisure 3 1 3 4 3 3 Other 14 4 7 10 4 6 Don't know 21 10 3 4 4 3

Total 100 100 100 100 100 100

(%) (%) (%) (%) (%) (%) Work most likely to do/actually done after transition (a)

Choreography 31 37 40 32 33 52 Dance teaching 39 45 46 53 69 71 Other dance related work 39 39 45 35 24 43 Other arts work 29 37 43 29 14 38 Work outside dance/arts 31 23 30 35 16 36 Further education 37 37 38 50 28 48 Domestic/leisure 14 6 9 22 9 26 Other 14 9 12 21 14 14 Don't know 869111

(a) Multiple responses permitted to this question.

The aDvANCE Project PG 49 PART ONE: V

SUPPORT FOR DANCERS DURING TRANSITION

Support for dancers during transition can be provided in different ways and from different sources. Table 7 shows dancers’ views about the importance of various types and sources of assistance during transition. A comparison of expectations with actual experience here shows that in the majority of cases the availability and magnitudes of support measures appear in practice to fall somewhat short of dancers’ expectations. For example, significant numbers of current dancers in all three countries think that financial assistance will be very important to them, yet smaller proportions of former dancers actually found this to be so. Similarly, in all three countries virtually all sources of support (as distinct from types of support) appear to have been less important for former dancers than their current counterparts expect. Indeed, quite significant numbers of dancers consider the people with whom they have direct contact—company managers, artistic directors, fellow dancers—indifferent or unsupportive in helping them deal with transition, either potentially or in actual fact. These results underscore the importance of supportive networks—family, friends, and so on—in easing the career transition problems for dancers.

PG 50 Making Changes FACING TRANSITION

Table 7: Support for Dancers During Transition (percent of dancers)

Current dancers’ expectations Former dancers’ actual experience

U.S. Switzerland Australia U.S. Switzerland Australia

Proportion of dancers (%) (%) (%) (%) (%) (%) regarding type of support as "very important": Financial assistance 77 57 63 57 32 40 Emotional support 50 36 62 64 46 49 Advice and information 62 57 57 57 30 43 Support for education and training 57 41 61 54 22 45

Proportion of dancers regarding source of support as "very important" Dance company 15 13 23 10 7 15 Performing arts union 19 25 14 14 5 2 Dance service organization 29 33 24 26 11 15 Other arts organization 18 17 22 9 6 9 Government 33 51 31 24 15 18 Family and friends 63 61 79 65 59 63

Proportion of dancers regarding source as "unsupportive" or "indifferent" Company management 24 38 34 32 37 28 Artistic directors 29 40 29 37 35 32 Fellow dancers 73115243719 Partner or spouse 573 778 Family 4 7 10 11 14 14 Friends _ 10 4 9 9 5

The aDvANCE Project PG 51 majority of dancers in these three countries have not par- PART ONE: V ticipated in career transition programs.

PARTICIPATION IN TRANSITION PROGRAMS The usefulness of programs and services, when they are provided, is apparent from these data. Virtually all current The availability of programs to support career transition dancers involved are finding such programs helpful, and varies among the three countries and over time in each of the great majority of former dancers have had a similar the countries. Table 8 shows the participation by current reaction to the various programs in which they have par- and former dancers in such programs, and their degree of ticipated. These results reinforce the utility of various satisfaction with the help these programs and services sorts of formal programs in assisting career transition, as have provided. Participation is greatest in the U.S., where compared to situations that leave the problems of coping transition programs and services have been and continue with transition entirely to the individual. to be more common than in Australia and Switzerland. The increased availability of programs in all three countries in recent years is evidenced by the fact that participation among current dancers is greater than that among former dancers in each case. Even so, taken overall, the

Table 8: Participation in Transition Programs (percent of dancers)

Current dancers Former dancers

U.S. Switzerland AustraliaU.S. Switzerland Australia

(%) (%) (%) (%) (%) (%) Participation in transition program Yes 58 27 38 47 23 16 No 42 73 62 53 77 84

Total 100 100 100 100 100 100

Helpfulness of program (a) Very helpful 60 61 68 70 49 75 Moderately helpful 36 37 24 18 42 15 Not helpful at all ___10 6 _ Don't know, can't say 4282310

Total 100 100 100 100 100 100

(a) Percentages of those participating.

PG 52 Making Changes dancers or other variations among the surveyed countries. Thus, it is important to stress that, while the individual country results are a valid basis of inference for that country, the unweighted averages (which are also sometimes Part One: VI referred to as “means”) discussed below should be taken not as precise statistics but as broad indicators only.

GUIDING We begin by listing the main approaches that are likely to be used to ease the transition process by companies, publicly and privately funded support agencies, and other HYPOTHESES AND organizations and individuals, a list that underlies the formation of our hypotheses. The methods of support of THE PERTINENT dancers in career transition (most of which have already been encountered in Section IV, and are also in Appendix EVIDENCE A of Part Two of this report), are: (1) Income subsidies paid directly to dancers for a limit- COLLECTED ed time period after retirement; (2) Subsidies for re-education and retraining, paid to the retraining institutions or issued as vouchers to individual dancers; e turn, finally, to the crux of this report: what our evidence suggests about effective methods (3) Sustained career counseling, beginning well before W for facilitation of the transition process—in retirement; other words, how can the available resources best be used to make transition easier for dancers and to improve (4) Establishment of a job placement agency that keeps the prospects for their post-transition careers? First, we up-to-date information on employment opportunities and will describe the hypotheses that we designed at the start that guides retired dancers both before and after a new of the study to guide our research and to shed light on the career has been found; available approaches for dancers in career transition and what they can promise to accomplish. Then, to the extent (5) Pre-dance-career education in a field other than dance possible, we will examine these hypotheses against the performance; available evidence. After that is completed, we turn to the recommendations that appear to be implied by the study (6) Mid-career education and training in a second field; of the hypotheses. and

Unfortunately, the results for the three surveyed countries (7) Post-career education and training in a second field. (Australia, Switzerland, and the U.S.), which will be used These seven approaches appear to us to exhaust the to evaluate our hypotheses, cannot readily be combined available basic possibilities (each of which, of course, has or aggregated, because of differences in the size, structure some variants), and for each of them some pertinent if and operation of the dance sectors in the three countries. limited experience is available. The dancers’ accounts Nevertheless, when common trends or patterns of inter- related to these experiences serve as the primary basis for action among the three countries are apparent, it is pos- our conclusions and recommendations. sible to indicate the “typical” tendency in the data by cal- culating a simple, unweighted average of the three coun- Our hypotheses, and the pertinent evidence that we have tries’ results. These figures, which mostly are percentages been able to assemble, are the following: of dancers responding in a certain way to a given question, do not take account of differences in numbers of

The aDvANCE Project PG 53 clearly quite modest in amount and seem hardly sufficient PART ONE: VI to provide material protection for a former dancer’s standard of living. Without additional outside support, the HYPOTHESIS 1: provision of subsidies is a costly approach. And, while An income subsidy can play a substantial role in permit- such a subsidy is being paid, it may even weaken the for- ting the former dancer to undertake the effort needed to mer dancer’s incentive to look for a more viable long-term prepare for a subsequent career. solution. Indeed, subsidies can have the reverse effect, at least sometimes encouraging postponement of difficult The widespread use of some form of monetary subsidy, decisions and the hard work entailed in inauguration of a whether for income or for further training and education, new career. Income subsidies are likely to be of limited indicates that this is generally considered to be a critical duration and may taper off over time.41 contribution to facilitation of the career transition process. Our research has provided information about the subsi- Our survey data provide information about dancers’ views dies currently provided and the judgment of those on the significance of various types and sources of assis- involved on their effectiveness and adequacy. tance during transition. A comparison of dancers’ expectations with their actual experience here shows that in the Current dancers in all three of our surveyed countries majority of cases, the availability and importance of sup- report that approximately five percent of their total port measures (financial, emotional, informational and income comes from unemployment benefits, insurance, educational) appear in practice to fall somewhat short of government grants, and other subsidies. Former dancers dancers’ expectations. For example, as Table 9 shows, in Australia and the U.S. report that these subsidies significant numbers of current dancers in all three coun- decreased to 3.5 percent of total income after transition. tries (an unweighted mean—i.e., average—of 66 percent) For former dancers in Switzerland, however, the percent- think that financial assistance will be very important to age of total income from unemployment benefits, insur- them during transition, yet smaller proportions of former ance, government grants, and other subsidies increased dancers (an unweighted mean of 43 percent) actually to 6.2 percent after transition. These contributions are found this to be so.

Table 9: Importance of Financial Assistance as a Form of Support (percent of dancers)

Percentage of current dancers regarding financial assistance as an important form of support

Australia Switzerland U.S. Unweighted mean %%%% Very Important 63 57 77 66 Moderately Important 29 34 21 28 Total:“Important” 92 91 98 94 Percentage of former dancers regarding financial assistance as an important form of support

Australia Switzerland U.S. Unweighted mean %%%% Very Important 40 32 57 43 Moderately Important 22 22 18 21 Total:“Important” 62 54 75 64

41 The experience of the Dancer Transition Resource Centre in Canada is different. well as emotional, informational and educational support through counseling, allows The DTRC has found that knowing that there is sufficient financial support in place dancers to develop long-term plans for transition. With this help, dancers can begin from training grants and subsistence (while dancers are in full-time retraining), as their transition in a timely, well-informed manner.

PG 54 Making Changes HYPOTHESIS 2: GUIDING HYPOTHESES Current funding of dancer retraining for a post-transition career is generally insufficient to cover the cost of such programs. HYPOTHESIS 3: Retraining promises to provide a substantial improve- According to the dancers surveyed, the financial ment in the dancer’s earnings after transition, particu- resources available for further training in fields other than larly if the retraining occurs relatively early in the dance are, as the hypothesis suggests, inadequate. The dancer’s career. highest percentages of current dancers responding to the survey in all three countries have concluded that they This hypothesis entails two issues: first, whether retrain- plan to finance study with their own funds (51 percent in ing contributes materially to the former dancer’s post- Australia, 39 percent in Switzerland, and 43 percent in transition earnings and, second, whether these benefits the U.S.). The percentage of those who plan to finance are enhanced if the retraining begins relatively early in the study with loans or scholarships is higher in the U.S. than dancer’s career. To investigate these issues, we carried in any other country (31 percent in the U.S., as compared out a number of cross tabulations. (A cross tabulation is to less than 23 percent in Australia and Switzerland). This simply a comparison of two sets of data that seeks to infer may also be attributable to availability of a more extensive the effect of one data set upon the magnitude of the other system of student financial aid in the U.S. data set. For example, one can compare, as in the tables that follow, the career stage at which dancers carried out Indeed, the expectation that post-career study will largely their training in a field other than dance with their earn- have to be self-financed proves to be confirmed in prac- ings after transition.) The analysis indicates that early for- tice in our survey. The majority of former dancers in all mal training is often very valuable for improvement of three countries have financed further education with their subsequent earnings and career satisfaction, as the own funds (51 percent in Australia, 49 percent in hypothesis suggests. However, the main surprise is that, Switzerland, and 52 percent in the U.S.). The mean cost although such early formal retraining leads to a substan- of retraining in Australia was AU$11,000 (U.S.$8,800), tial increase in income immediately after transition, it is CHF18,000 (U.S.$14,000) in Switzerland, and not particularly far ahead of all the alternatives consid- $27,000 in the U.S. Considering the high cost of retrain- ered, such as contemplated later retraining or the ing in all three countries, increased financial support is absence of any intention to retrain in the longer term. likely to be considered a matter of high priority by Table 10 shows that, in the first twelve months after tran- dancers. sition, 50 percent of those former dancers who had completed their retraining before transition had incomes high- According to information provided to us by the formal er than when they were dancers. Only 28 percent of career transition centers in Canada, the Netherlands, and dancers who had not completed any pre-transition train- the U.K., retraining and subsistence grants from these ing had achieved higher incomes in the first 12 months centers have minimized the need for financial investment after transition. But this gap lessens as time passes. In by dancers. Some of these facilities enable their clients to the years following the first year after transition, 65 per- begin retraining while they are still in active dance cent of already retrained dancers reported higher incomes careers, thus precluding the need for investments soon than when they were dancers, compared to 58 percent of after transition. All of these programs provide grants that those who were not retrained at the time of transition. include study costs and subsistence, allowing dancers to study for a certain period of time without necessarily Moreover, there are significant exceptions to our hypothe- financing it with their own funds. Dancers in these coun- sized superiority of post-transition income that derives tries do, however, have to meet the eligibility criteria of from retraining and particularly from pre-transition the programs (see Section IV above). retraining, and these exceptions illustrate the dangers of focusing only on averages in a statistical analysis. For example, in Australia, while twelve months after transition, 39 percent of those who had completed retraining before transition had increased their incomes over the pre-transition levels, 56 percent who had not yet complet-

The aDvANCE Project PG 55 That said, these exceptions are not necessarily legitimate PART ONE: VI grounds for skepticism about the universal value of retraining. The apparent successes of those who posted retraining were benefiting financially, and 42 percent poned retraining or never intended to undertake any of those who had no retraining plans had also experienced retraining may perhaps entail some confusion of cause higher incomes. A similar exception occurs in the data for and effect. It is at least plausible that those former the U.S., where 43 percent of those who had completed dancers who accidentally or for unrelated reasons hap- retraining before transition had increased their incomes pened to enter into a favorable post-dance career were led by the time of the surveys, but 46 percent of those who thereby to postpone further education or reject it altogeth- had no intention of retraining were also receiving higher er. In other words, it is possible that the degree of success incomes than before. In other words, early retraining is by affected retraining more than the retraining affected the no means the only answer, since a majority of dancers degree of success. who did not undergo such training nevertheless finished up with a higher income than they had earned when they were dancers.

Table 10: Effect of having completed retraining before transition on post-transition incomes of former dancers (unweighted mean percent of dancers)

Post-transition income Higher than Lower than Same as when a when a when a Total dancer dancer dancer %%%% Income 12 months after transition Dancers completing retraining 50 32 18 100 before transition Dancers not completing retraining 28 53 19 100 before transition

Income now Dancers completing retraining 65 20 15 100 before transition Dancers not completing retraining 57 34 9 100 before transition

PG 56 Making Changes HYPOTHESIS 4: GUIDING HYPOTHESES Post-dance career retraining may offer benefits primarily in the long run, but may exacerbate the dancer’s financial problems in the early stages of transition.

Post-transition retraining can lead to serious financial hardship in the period immediately after transition, pre- sumably because, among other things, this is the time when a heavy burden of the cost of retraining occurs. However, this disadvantage disappears in the longer term as the benefit of higher incomes made possible by retraining takes effect. So, as Table 11 shows, only 23 percent of those dancers who began or completed retraining after transition had higher incomes in the twelve months after they stopped dancing than when they were active dancers, and 62 percent of them had lower incomes in that time (unweighted mean percentages). However, no less than 60 percent of these dancers have higher incomes now, and only 34 percent have lower incomes now, than when they were dancers.

Table 11: Effect of having begun or completed retraining transition since transition on post-transition income of former dancers (percent of dancers) Post-transition income Higher than Lower than Same as when a when a when a Total dancer dancer dancer %%% Income 12 months after transition Australia 18 61 21 100 Switzerland 35 51 14 100 U.S. 15 76 9 100 Unweighted mean 23 62 15 100 Income now Australia 64 31 5 100 Switzerland 72 20 8 100 U.S. 46 50 4 100 Unweighted mean 60 34 6 100

The aDvANCE Project PG 57 process by initiating dialogue about transition, providing PART ONE: VI counseling, and encouraging and supporting internships and retraining (see L’Opéra National de Paris, 2002). HYPOTHESIS 5: Training for a second career during the period of dance HYPOTHESIS 6: activity is a realistic alternative, but only for some types For a substantial proportion of dancers, a post-transition of dance activity. The time demands of a professional career totally divorced from dance may not be a realistic dance career may leave insufficient time for an adequate possibility. level of training. According to dancers surveyed in the U.S., non-dance- It is probably not realistic, generally, to aim at ubiquitous related careers into which former dancers have moved or widespread training for second careers, especially include real estate, nursing, the ministry, insurance, mas- before transition,42 and particularly for dancers in branch- sage therapy, and yoga instruction. Most dancers, howev- es of dance activity such as classical ballet, which require er, ended up in new careers such as dance instruction, training to begin at a very early age and which have an that are related to dance.43 This may be so either because extremely time-consuming training program. In addition, after retirement from dance it is too difficult, because of prospective dancers apparently are unlikely to be effec- age or for other reasons, to switch to a career outside of tively guided in this direction before they actually embark dance. The retiring dancer may, for example, have depen- on their dance careers. The majority of dancers in all dants, making retraining a further difficulty.44 It may also three of our surveyed countries do not think education or be a consequence of the former dancer’s personal prefer- study for a second career should have been undertaken at ences and enduring commitment to the field, or of fund- an earlier age. ing agencies whose support is directed only at retraining dancers to remain in the dance field, or it may be an Information from the four existing career transition centers active personal choice. And it may be a consequence of generally confirms this. Dancers in companies that have unavailability of career transition support. relatively tight schedules may not have the flexibility to begin retraining while they are still dancing. However, the The 2002 Paris National Opera study revealed that 83 experience of the transition centers indicates that early percent of former dancers went into careers in the field of preparation for the career transition process significantly dance, and of those, 65 percent became dance teachers. reduces the trauma that often accompanies unprepared Other post-transition careers in dance included choreog- transition. Therefore, the transition centers have sought to raphy (7 percent) and positions of leadership in dance heighten the dancers’ awareness of the inevitable end of schools, conservatories, or ballet companies (7 percent). the performing career. A great deal of the work of these Only 8 percent of former dancers surveyed found work in centers is focused on dancers while they are still studying a field outside the arts or were currently seeking work (see dance and performing. L’Opéra National de Paris, 2002).

It is relevant here to report on the results of another recent In contrast, former dancers who have participated in the survey of dancers. In 2002, the L’Opéra National de Paris programs of the formal career transition centers are (Paris National Opera) conducted a study of its dancers reported to have chosen a far wider variety of careers. The and career transition. Ninety former dancers were con- list includes careers in real estate, medicine, insurance, tacted, with fifty percent responding to the questionnaire. Pilates instruction, massage therapy, yoga instruction, In retrospect, former dancers who participated in the architecture, arts management, computer technology, study said they wished they had started preparing for transition earlier and had studied for a parallel career while still dancing. They did note, however, that they did 43 The U.S. center, Career Transition for Dancers, reports, however, that from 1997 to 2003 only 7.3 percent of all grant recipients received scholarship monies for not have the time to do so. Former dancers reported that dance-related careers. 44 This can also affect the dance career. A current U.S. dancer remarked, “I think the company could have helped ease the transition you should ask questions regarding having children. I had a daughter in 2001 and having her has affected my ability to work as a dancer. I cannot take a national tour unless I were to take her on the road with me. I think having children is a catalyst for 42 It is important to emphasize here that there is no such thing as the “moment of change in anyone's life, especially someone in the performing arts.” A former U.S. transition.” Often, dancers reduce their dance activity only gradually and may contin- dancer said, “Luckily, I had the noble occupation of full-time mom to transition to. I ue to participate in some way after their career has apparently come to an end. still carried the grief and despair of losing my identity as a dancer.”

PG 58 Making Changes graphics and web design, finance, law, massage tech- GUIDING HYPOTHESES niques, publishing, television and theater direction and production, carpentry, and psychology. According to the Canadian Dancer Transition Resource Centre, dancers in job satisfaction in different areas of work, with the great- its programs have been able to build careers in a variety est satisfaction levels appearing to be achieved when of disciplines, with 30 percent choosing careers requiring dancers are able to work in a dance-related field. Working university training, and only 8 percent choosing to remain elsewhere in the arts or in a health or fitness-related field in dance-related professions in the period 1985–2004. also appears to provide somewhat more job satisfaction than working in a non-arts field, although overall these HYPOTHESIS 7: differences are not especially pronounced. The experience Systematic programs of placement and apprenticeship at the formal career transition centers also indicates no of dancers with no ancillary skills at the time of career material difference in career satisfaction levels between transition are likely to be most remunerative and satisfy- careers that are dance related and those that are not. ing when the new position is in the performing arts or some related arena. It is also noteworthy that the majority of former dancers surveyed in 2002 by the Paris National Opera reported The evidence casts some doubt on this hypothesis. A being somewhat or very satisfied in their post-transition comparison of the post-transition incomes of those careers. Seventy-eight percent were in permanent posi- dancers working in a dance-related field, another arts- tions, and 44 percent were earning less in their new posi- related field, a health or fitness occupation, or a non-arts tions, with 42 percent earning more than they had as field shows no significant differences in the proportions of dancers (see L’Opéra National de Paris, 2002). dancers reporting higher or lower incomes than when a dancer. In other words, there appears to be little difference, on average, among the income-earning prospects of the different occupational types. However, our results (summarized in Table 12) do reveal some differences in

Table 12: Field of post-transition work and level of job satisfaction of former dancers (unweighted mean percent of dancers). Level of job satisfaction Field of work Satisfied Dissatisfied %% Dance 90 10 Arts 85 15 Health/Fitness 86 14 Non-arts 83 17

The aDvANCE Project PG 59 an ages of transition in these countries) are higher than PART ONE: VI for those who stop dancing beyond that age. A summary of these results, again presented as the unweighted HYPOTHESIS 8: means (averages) for the three countries, is provided in For dancers switching to careers that are not dance- Table 13. related, the older/more mature the dancer is at the time of career transition, the less favorable the dancer’s sub- This has, however, not been the experience in Canada sequent earnings are likely to be. where, according to the Dancer Transition Resource Centre, over the last 20 years the average age of transi- Entry into a new profession at the end of the dance career tion has been 36 years of age.45 can be a very difficult undertaking for the individual, because the person may be discouraged by the prospect of having to enter a field with far younger competitors. Our survey results show that the mean age at which former dancers stopped dancing in Australia, Switzerland and the U.S. was a little under 34 years, which is about ten years later than the general date of embarkation in most professions requiring extensive education.

The results of our study indicate that the income prospects of dancers who stop dancing at a relatively older age are less favorable than those who stop dancing at an earlier age. In all three countries, the post-transition incomes of dancers who undergo transition before the age of 30 (which is several years before the mean and medi-

Table 13: Age of transition and post-transition income of former dancers (unweighted mean percent of dancers). Age at transition Income now Less than 30 years Greater than 30 years %% Higher than when a dancer 71 53 Lower than when a dancer 19 36 Same as when a dancer 10 11 Total 100 100

45 It is also noteworthy that Canadian grants primarily support dancers whose careers have been of considerable length, except in the case of dancers with permanent injury or other severe medical problems.

PG 60 Making Changes HYPOTHESIS 9: GUIDING HYPOTHESES Substantial awareness of the challenges of transition (which can be assisted by career counseling) may facilitate increases in income after transition. counseling and information was very important, but that percentage was still quite high. More to the point, as Career counseling and provision of information to dancers shown in Table 14, a greater percentage of the dancers about the challenges of transition are activities presum- who reported that they were very aware of the challenges ably intended to raise dancers’ awareness of these chal- also reported increases in income than those who were lenges. In retrospect, a substantial proportion of dancers not very aware of them. considered such awareness to be very valuable. In our three-country survey, 43 percent of former dancers in Australia, 30 percent in Switzerland, and 57 percent in the U.S. reported that career counseling and information was “very important.” Five percent of former dancers in Australia, 11 percent in Switzerland, and 2.5 percent in the U.S. reported that advice and information was “not important at all.” As compared to current dancers, a smaller percentage of former dancers reported that career

Table 14: Effect of awareness of challenges of transition on higher post-transition incomes of former dancers (percent of dancers)

Percentage of dancers with higher incomes 12 months after transition than when a dancer

Australia Switzerland U.S. Unweighted mean %%%% Dancers “very aware” of challenges 37 50 24 37 Dancers other than “very aware” 26 29 18 24 of challenges Percentage of dancers with higher incomes now than when a dancer Australia Switzerland U.S. Unweighted mean Dancers “very aware” of challenges 67 66 51 61 Dancers other than “very aware” 63 66 45 58 of challenges

The aDvANCE Project PG 61 between the fully-prepared and the not-fully-prepared PART ONE: VI groups appears to narrow over time.

HYPOTHESIS 10: The survey results also show a markedly higher level of Dancers tend to be badly informed about matters such post-transition career satisfaction among those fully pre- as future income prospects and the challenges of career pared to meet transition than among those not fully pre- transition. Such information can help prospective pared. An unweighted mean of 84 percent of the fully- dancers’ satisfaction with a subsequent career after prepared dancers indicated career satisfaction, whereas transition. only 51 percent of those not fully prepared reported being satisfied or somewhat satisfied with their post-transition Our findings indicate that most current dancers claim to career. Interviews with people in the field, including be well aware of the challenges that will face them when dancers, teachers, artistic directors, and company man- transition occurs. But, in fact, this professed awareness agers, indicated that transition preparation was impor- may be more apparent than real. With the benefit of hind- tant. sight, former dancers acknowledge they were not well prepared (see Table 5). Table 15 shows that among those The implication of these results is not surprising: former dancers who felt themselves to be fully prepared Preparedness to meet the challenges of transition, howev- to meet the challenges of transition, twelve months after er that preparation is obtained, gives the individual transition the proportion whose incomes had risen above dancer a marked advantage in dealing with the transition their earnings as dancers was about the same as the pro- process and in attaining a favorable outcome in terms of portion whose incomes had fallen. However, among income and job-satisfaction in the post-transition career. dancers not fully prepared, the proportion of those who had lower incomes twelve months after transition was greater than the proportion with higher incomes. It is also apparent that the proportion of those fully prepared and enjoying higher incomes in the immediate post-transition period was larger than the corresponding proportion for those not fully prepared. This income advantage apparently associated with preparedness for transition was maintained in the longer term, though the distance

Table 15: Effect of being fully prepared for the challenges of transition on post-transition income of former dancers (unweighted mean percent of dancers) Post-transition income Higher than Lower than Same as when a when a when a Total dancer dancer dancer %%%% Income 12 months after transition Dancer “fully prepared” 39 41 20 100 Dancer not “fully prepared” 27 54 18 100 Income now Dancer “fully prepared” 63 27 10 100 Dancer not “fully prepared” 58 32 10 100

PG 62 Making Changes HYPOTHESIS 11: GUIDING HYPOTHESES Dancers tend systematically to overestimate their likely incomes and the length of their careers. Not surprisingly, current dancers have only a vague idea The evidence supports this hypothesis. Our findings show about what they may earn after transition, and significant that currently active dancers expect to continue their per- numbers answered, “don’t know” when asked what they forming careers until well into their forties. However, expected. Nevertheless, about one-third of current dancers whose active careers are now over realize in ret- dancers in all three countries said they expected to earn rospect that they were not able to continue dancing as more after they stopped dancing, reflecting no doubt the long as they had expected. Looking back, these dancers very limited incomes of many practicing dancers at pres- remember that although they thought they could continent. Only 15 percent (unweighted mean) expected to earn ue until their late thirties, in fact they actually stopped in less. their early to mid-thirties, on average (see Table 4). Assuming that it is appropriate here to combine the cur- As dancers begin to perceive that transition is imminent, rent and former dancers’ responses to infer whether or not they sometimes approach planning more realistically. This expectations are borne out in reality, it would appear from is not always true, however, because one typical response Table 16 that those expecting to earn more are likely to to the inevitability of any kind of transition is simply be disappointed at first. However, in the longer term their denial of the problem. Thus, even if objective information hope for a higher income seems more likely to be fulfilled. is provided to the dancers, it may not have much effect. On the other hand, it seems that a number of those The experience of the countries where career transition expecting less will have their fears confirmed, especially centers exist tends to confirm this. Denial is a persistent in the early stages after transition. Overall, despite the defense mechanism.46 fact that a majority of dancers (more than half in

Table 16: Expected vs. actual post-transition incomes (percent of dancers) Australia Switzerland U.S. Unweighted mean %%%% Percentage of current dancers expecting to earn more 33 34 33 33 post-transition Percentage of former dancers actually earning more post-transition:

First 12 months 30 38 20 29 Now 60 64 44 56 Percentage of current dancers expecting to earn less 20 8 18 15 post-transition Percentage of former dancers actually earning less post-transition: First 12 months 42 41 61 48 Now 28 21 39 29

46 However, part of the work of the career transition centers is focused on raising that these activities have not been ineffective. Discussion of transition in these coun- dancers’ awareness of transition and its issues during all the stages of the dancing tries is no longer taboo, as it was before the founding of these centers. career, even during the educational stage. Experience at the four centers indicates

The aDvANCE Project PG 63 PART ONE: VI unweighted-mean terms) finish up earning more in the post-transition period than they did before transition, there is still a significant proportion (almost 30 percent) whose post-transition lives provide a lower income than when they were dancers. For some, of course, this may be by choice, for example if they retire from dancing to take on full-time domestic or family duties.

HYPOTHESIS 12: Dancers tend to disregard their health risks.

Current dancers often expect that ill health or the effects of injuries will lead to the end of a professional career (this is true of 43 percent of current dancers in Australia, 37 percent of current dancers in Switzerland, and 43 percent of current dancers in the U.S.). In fact, ill health and injury do often bring dance careers to an end. Twenty-nine percent of former dancers in Australia, 33 percent of former dancers in Switzerland, and 35 percent of former dancers in the U.S. report that the health effects of injuries caused them to stop dancing (see Section VII below for material on government health insurance schemes).

PG 64 Making Changes tion center. Second, the programs of the transition centers have helped to open up an astonishing variety of occupations for the dancers’ second careers, many of them call- ing for superior ability and education (see Section IV’s Part One: VII reports by the British and U.S. centers for striking examples). Third, and perhaps most remarkable, is the success of the graduates of the transition centers in finding con- OUR CONCLUSIONS tinuing employment in the fields in which they were retrained. Thus, for example, as described above, a recent study of the U.K.’s career transition center program AND reported that, “… more than 93 percent of all dancers who retrained with the [Center’s] support over the past RECOMMENDATIONS: 30 years are still working in the same profession they retrained for” [our italics].

SOME PROMISING Thus, it is the considerable achievements of the four formal career transition programs that underlie the first of PROGRAMS AND our recommendations and conclusions: (1) Concern over the welfare of dancers should lead PRACTICES countries in which no transition center exists to assign high priority to the creation of such a center, and should lead the governments in the countries where the four transition centers are now located to give higher priority to their funding. ur interviews with dancers, current and past, our study of current transition-facilitating practices of We also want to note that, although none of what has O a large sample of organizations in many coun- been done in our study yields conclusions that are com- tries, our detailed three-country study and our evaluation pletely categorical and without exceptions, we believe the of the preceding hypotheses all provide insights for prom- evidence assembled provides a more solid foundation for ising career transition policies and programs. Most impor- the design of transition measures than was available tantly, we acknowledge the invaluable contributions and before. We will turn shortly to our other recommendations effective programs that are already being carried out by and their promise for a more viable transition for dancers the four dancer transition centers in Canada, the to their next careers, as their time as active performers Netherlands, the U.K., and the U.S. These organizations draws to an end. But first, we will review a number of have led the way toward the design and execution of pro- observations that individual dancers made to us in our grams and services that have effectively alleviated the interviews, suggesting approaches and general proce- burden borne by dancers in the course of their career tran- dures that they considered important and even essential sitions. They can serve as valuable models for those who for effectiveness of transition arrangements. seek to design such programs in other countries. At least three of the reported accomplishments of the four transi- SOME IMPORTANT GENERAL OBSERVATIONS tion centers are particularly noteworthy. First, these tran- MADE BY DANCERS sition centers have clearly succeeded in protecting the dancers who have taken advantage of their services from The following observations by dancers are also reflected the pressures to seek a new career in primarily in a dance- in our list of recommendations. Our data indicate that related field. For example, as noted earlier, while the these suggestions represent not just the views of a few 2002 Paris National Opera study found that more than respondents, but, rather, deal with concerns that are 80 percent of its former dancers went into dance-related widespread in the dance community. fields, this was true only of some 8 percent of those who had participated in the programs of the Canadian transi-

The aDvANCE Project PG 65 education or career transition of dancers—is the utter lack PART ONE: VII of systematic evaluation of these programs as a vital step in the design of improvements and elimination of short- (a) Many of the dancer’s comments emphasized the comings in the programs. Major improvement in current importance of talking to and listening to the dancers and proposed transition-related measures requires careful themselves. The implication was that management or tracking of the subsequent careers of dancers who have outsiders should not, by themselves, select a set of career gone through the particular program in question, compar- transition services that they believe dancers require, but ison with the results of other programs, communication should instead ask the dancers what they need, and with the dancers to obtain pertinent observations and respond accordingly. As it stands now, at least some reactions from them, and so on. Governance of programs dancers feel excluded from the planning and decision- on the basis of mere hunch and intuition will not do the making process and are suspicious of the career-transition job. Rather, we urge widespread adoption of tracking and arrangements that emerge. Our preliminary results (see evaluation measures, preferably begun before any new Table 7) also indicate that in all three surveyed countries, transition-related program is launched, that will permit significant numbers of dancers view the people who have systematic improvement of each program and increased direct contact with them—be they company managers, reliance on its most effective components. Indeed, it artistic directors, or fellow dancers—as indifferent or would be a valuable contribution of government or a unsupportive in helping dancers deal with career transi- dance service organization to provide “how-to” manuals tion, either potentially or in actual practice. These results or training sessions that teach effective evaluation proce- underscore the importance of dancer participation in the dures. design and execution of transition programs, as well as the value of supportive networks—family, friends, and so We have already reported our first recommendation—that on—in easing the transition problems for dancers. the formation of formal dance career transition centers be given high priority in countries where they do not now (b) The needs of dancers differ and vary at different points exist, and that existing transition centers be given higher in their careers. Career transition programs must therefore funding priority by their governments. We turn now to our be flexible and capable of adaptation to varying individual other observations and recommendations directly relevant needs as they arise. to the design and administration of career transition programs for dancers. (c) Repeatedly, we have encountered calls for a change in the culture or in the philosophy of the dance world, a con- (2) Financial Issues: Costs and Funding cern that is often considered by dancers to be even more urgent than the adoption of particular programs. What is As we have already emphasized, cost and limited called for is a realistic and practical attitude in which the finances are among the most serious handicaps besetting discussion of and preparation for career transition is con- more widespread creation and use of effective career tran- sidered a natural part of the dancers’ training and not as sition programs.47 It follows that consideration of ways to an insult or an afterthought, or as a sign of a lack of com- expand the available funding is a critical step that must mitment to dancing. In this view, it is critical to find ways precede substantial improvement and expansion in tran- to enable dancers to feel comfortable about discussing sition arrangements. Public-sector support and more vig- transition, and to reduce their uneasiness about the pur- orous fundraising are, of course, the oft-prescribed solu- suit of parallel careers while still dancing.

47 Examples in which cost is the constraint that prevents the adoption of desired pro- THE IMPORTANCE OF RECORD-KEEPING AND THE grams are, of course abundant. For instance, the Dancer Transition Resource Centre (DTRC) in Canada would like to offer long-term retirement benefits to senior artists as OBJECTIVE AND SYSTEMATIC EVALUATION OF well as grants for complete retraining education, but financial constraints preclude such a change. Currently, the cost of services that the DTRC offers, including grants CAREER TRANSITION PROGRAMS and awards plus programs and services, is CA$631,000 (U.S.$480,000), which is 74 percent of the Centre’s total budget.

There is another important, if preliminary, matter that In 2002 and 2003, Career Transition for Dancers (CTFD) in the U.S. offered 2,800 hours of career counseling services entailing an outlay equivalent to $308,000. should be raised before turning to the specific issues During 2002 and 2003, CTFD awarded 474 grants to dancers in 27 states and raised by transition per se. One of the most frequent Canada with scholarship grants totaling $550,783. From an historical perspective, CTFD has, since 1985, awarded more than $1.7 million in educational scholarship shortcomings in social programs—whether programs for toward tuition, books, and related expenses, enriching the lives of hundreds of

PG 66 Making Changes tions, but the limits and impediments that plague these CONCLUSIONS AND RECOMMENDATIONS obvious sources of assistance should also be clear. The programs we have studied suggest that other, more indirect, approaches can reduce the financial pressures, at Fiscal separation of the transition program. As is done by least to a degree. Four illustrations will suggest the range New York City Ballet’s “Dance On” program, more wide- of possibilities: spread use can be made of separate scholarship funds sponsored by individual donors who give specifically for Partnerships with institutions such as colleges. As has transition assistance. This need not cost the dance com- been demonstrated by a number of successful examples pany anything directly and does not necessarily compete (described in Section IV and in Appendix A of Part Two of with standard processes of company fundraising. (For this report), it is possible for dance organizations to enter another example, see the Boston Ballet Dancers’ into agreements with nearby educational institutions to Resource Fund, described in Appendix A of Part Two of provide retraining to current and former dancers at little or this report).48 no tuition cost to the dancers. The fiscal benefits to the dancers and the dance organization are obvious. Insurance-like benefit programs. Transition financing can Moreover, this will often be an attractive option to the be assisted by programs that are analogous to an insur- educational institutions that normally seek intellectual ance policy. While this makes financial demands upon the enrichment through diversity in the student body, and for dancers themselves (through regular deductions from whom the addition of a relatively small number of stu- their salaries), it can reduce the severity of the burden by dents will cause little increase in operating costs, since a spreading out the contributions over time. An example is negligible expansion in the size of classes entails no the Dutch Retraining Program for Professional Dancers expense. (Stichting Omscholingsregeling Dansers) in the Netherlands, which works like an insurance plan. Dancer Incorporation into other programs in the public sector or contributions are required to equal four percent of the elsewhere. The dance community can seek opportunities dancer’s gross monthly salary and can be paid either in existing governmental or other programs into which through the company to which the dancer belongs or, they can incorporate at least portions of their activities. independently, by the dancer. The money available for the An illustration of such a government program is found in dancer’s career transition then depends on the number of Switzerland, where each major population hub has a contributions the dancer has made throughout his or her Cantonal Department of Industry, Business and Labour career. (See also the description of the Dancer Transition (KIGA), whose assigned task is to enable people, general- Resource Centre in Canada, in Appendix A of Part Two of ly, to leave the unemployment list. In this example, gov- this report.) ernmental programs pay to retrain the unemployed and help their transition into a more viable vocation. Some Of course, none of the illustrative approaches just dancers have taken advantage of this, and it is, in fact, described can solve the fundamental financial problem. the primary avenue of transition in Switzerland. The Unfortunately, there is no magic solution—the funds must Swiss transition programs usually first investigate whether come from someone, and whether from donors or from these government programs can be used to help a candi- the dancers themselves, it only amounts to shifting of the date for transition assistance before releasing any of their obligation. The bottom line here is that there is no alter- own limited funds for the purpose. native to that of laying the problem at the doorsteps of the relevant government agencies and the body of prospective donors. Our conclusion is that there exists no simple dancers who are attending or have graduated from more than 170 colleges, universities, conservatories, and certification programs, both here and abroad. Were it finan- breakthrough proposal to be suggested regarding the rais- cially feasible, CTFD would increase its individual scholarship award, offer more ing of funds. The difficult task of conventional approach- grants for graduate studies, more educational and entrepreneurial grants, and more national outreach programs in order to reach an increased number of dance commu- es to fundraising simply cannot be avoided. nities in the U.S.

And, according to the U.K.’s Dancers’ Career Development (DCD), the cost of setting up and maintaining their retraining resource Centre for the 2004-2005 period is £3,900 (U.S.$6,700.) Its services, including resume-writing and interview-technique 48 One example of this in career transition centers is Career Transition for Dancers’ workshops for dance schools, information workshops for independent dancers, and named endowment educational scholarships such as the Rudolf Nureyev Educational the Centre’s newsletter cost an additional £11,000 (U.S.$19,000). Although the Scholarship Fund, the Carmen Diana Barth Educational Scholarship Fund, and the DCD would like to continue to offer these services, its funds are limited as well. Agnes de Mille Educational Scholarship Fund.

The aDvANCE Project PG 67 But as already emphasized, in transition programs it is PART ONE: VII emphatically not true that one size fits all. While retraining may be the key to a felicitous future for some dancers, (3) Dancer Participation in the Management of others seem to do quite well without it. The evidence pro- Transition Programs vided in the previous section (in the discussion of Hypothesis 3) shows that retraining often contributes Unless there are particular circumstances that make its both to post-transition income and to job satisfaction. advisability questionable, our report strongly suggests However, we also found that a greater share of former that the dancers themselves should much more routinely dancers who had not yet undertaken retraining (or who be invited and urged to participate in the formulation and had no intention of doing so) had higher post-transition maintenance of career transition programs for the organi- incomes than those who had completed their retraining or zation in question. Companies that encourage dancers to were still in the retraining process. In particular, the evi- take this initiative may find that the programs are carried dence does not show that early retraining is necessarily out more effectively and reliably. In addition, this the most effective way to promote these goals. Given the approach may also elicit innovative ideas from the partic- costliness of retraining, these results may favor the diver- ipants that may lead to modified transition programs that sion of some portion of the available funds to other forms are more effective. The existing transition centers all have of assistance. One example is help in placing the former some form of dancer involvement in their management, dancer in a temporary, but relatively well-paid, job that such as board or committee membership. will make it easier to subsist while moving toward more permanent reemployment. Another example is helping to (4) Training Programs market former dancers to new employers.

Dance school curriculum development. Educational pro- (5) Counseling Services for Dancers grams in dance schools of all kinds and at all levels should consider the inclusion of a mandatory curriculum The provision of career-counseling services can be an on career transition, as is the case in the U.K. It is true invaluable component of any transition program, especial- that this may be more easily said than done; dance train- ly since many dancers’ attention is concentrated very ing programs tend to be intensively concentrated on per- strongly on dance, not on career transition. As we have formance, and finding space for other things may be dif- seen, the evidence indicates that many dancers are ficult. Nevertheless, the importance of preparing dancers imperfectly aware of the prospects they face and, conse- for career transition cannot be overlooked, and any quently, are in no position to evaluate their options. avenue through which the problem can be addressed However, at least two problems frequently beset the should at least be considered. Since over half the former career-counseling process. First, the counselors them- dancers surveyed in the three countries have done some selves may be ill-prepared for the task, and, second, the teaching, these former dancers are the perfect vehicles to individuals who undertake the task may not be those include transition awareness in their own teaching prac- most likely to engender the confidence and trust of those tices, whether delivered through formal course programs they are advising. This suggests two steps that can use- in dance education or through informal or private dance fully be taken to improve the counseling activity. First, in instruction (for an example of transition curriculum in each country, unless it already exists, it may be desirable schools, see Appendix A of Part Two of this report for a to organize a proficient counselor-preparation program for description of the U.K.’s Arts Education School in Tring). those who will be conducting the activity in dance organizations and other relevant venues. Much can be learned Retraining assistance. There is no question that for many in this way and the dancers can be materially benefited. dancers retraining is the portal to success in a new career. Second, where feasible, the counselor staff should include Particularly where the next career is in a field very far former dancers, because they are uniquely situated to be from dance activity—say real estate or the law—it should able to understand the transitioning dancer’s challenges be obvious that the acquisition of the requisite tools and and needs and to bring an outside perspective to their knowledge is indispensable. advice. (For examples of successful counseling programs, see the discussion of the four transition centers in Section IV, above).

PG 68 Making Changes (6) Specific Suggestions for Dance Companies and Other CONCLUSIONS AND RECOMMENDATIONS Organizations

Formation of dance companies for older dancers. The effort would appear to be warranted. Unions, for example, creation for older dancers of more companies such as the could effect changes in pension plans and health benefits. “NDT III” company in the Netherlands or the “Florida Follies” in the U.S. can provide additional opportunities (7) Government Funding and Policy for older dancers, and allow a more gradual and less traumatic transition, while continuing to make the talents of Government programs. A number of the preceding pro- these older dancers available to the public. posals also invite additional steps by government to facilitate and encourage them. For example, dance schools Two-track training programs. Dual-track training pro- can be offered modest financial incentives to require their grams—such as those used in Cuba and Mexico—that pupils to undertake a second field of education, along require dancers to study both dance and dance teaching with incentives to encourage dance companies to enter simultaneously can be an effective and efficient way to into partnerships with local universities, creating pro- prepare dancers for their activities after transition, while grams that make it possible for dancers to pursue univer- reducing the duration of any inter-career hiatus. However, sity degrees while still dancing. the focus of the Mexican and Cuban programs on teaching as the second career raises two important caveats. Furthermore, governments can usefully contribute profes- The first is the possibility of a glut of dance teachers who sional training to those who carry out transition activities, may then have difficulty attracting a sufficient number of through grants to transition centers and dance service students to provide an adequate income. The second is organizations in the field or by showing them, on the that teaching is reported, at least in some cases, to yield basis of experience and analysis, ways in which such pro- limited career satisfaction to post-transition dancers. In grams can be designed and carried out more effectively. fact, the two-track program in Mexico was recently termi- Part of this activity could include training in effective pro- nated. gram-evaluation techniques that will enable those who conduct career transition programs to improve the pro- In-house dance company career transition programs. grams on the basis of their own experience. Greater awareness and promotion of transition support needs to come from dance company managers, artistic Finally, there is the most obvious role of government: the directors, and those involved in the daily operations of the provision of the necessary funds. Here, the dance com- dance companies, with an active acknowledgement that munity must convey to legislators the importance of the transition should be seen as a normal part of a dancer’s contribution of dance activity to the culture of society and career. In particular, established companies should seri- the relatively meager provision of currently available ously consider setting up their own transition programs, resources for the transition process. While most public tailored to their own circumstances. Examples of such arts funding agencies in various countries that support programs include those provided for company dancers by dance activity are well aware of the problem of transition, the Paris National Opera and by the Australian Ballet. we suggest that they need to give more thought to raising These sorts of programs may be able to be financed as the profile of transition support as an avenue for their dis- specific projects, separate from the normal operational bursements, through the development of imaginative proj- budget for the company. One difficulty, according to the ects and programs specific to their country’s particular four dance career transition centers, is that it may be hard needs. for a dance company to ensure strict confidentiality and gain the trust of its dancers in initiating career transition Articulated health insurance and pension schemes. It is programs. evident that articulated (i.e., explicit and clearly spelled- out) protection in government health and pension Dancers’ unions and service organizations. Although schemes is warranted for dancers (both company-affiliat- unions representing dancers and service organizations in ed and independent dancers), particularly given that near- the dance industry in several countries have addressed ly one-third of our surveyed former dancers cited health challenges of career transition in various ways, a greater and injury as the cause of their dance career termination.

The aDvANCE Project PG 69 A FINAL WORD ABOUT OUR FINDINGS PART ONE: VII The preceding suggestions most assuredly do not exhaust Some governments and a number of organizations in sev- the possibilities for innovation and improvement in the eral countries have already taken steps in this direction programs and services available to dancers to assist them and their experience can be helpful to others in designing in their career transitions. Further progress can and their own programs. should be made, and any changes in career transition efforts should be based on systematic study and evalua- For example, in Germany, the Kunstlersozialkasse (Artists’ tion of the programs and services already in place, espe- Social Security Program) enables self-employed artists to cially in countries beyond those we surveyed. The steps obtain the same sort of health protection as is available to suggested here are proposed merely as a beginning, not employees, and covers both health insurance and old age as the outline of a program that can claim to be ideal and pensions. Artists pay 17.7 percent of their incomes into final. the fund, an amount that is matched by the Artists’ Social Security Department. An artist must earn a minimum of The dancers of the world exhibit an extraordinary degree € 3,926 (U.S.$5,000) per year to be accepted into this of commitment to their profession—a profession that fund, though this minimum-income condition is waived requires early rigorous education and long hours of work for artists who are just entering the workforce. Canadian that yield substandard compensation and entail substan- Actors’ Equity Association (CAEA) also offers an insurance tial risks of physical injury and the likelihood that the plan that provides rehabilitation benefits to members who dancer’s career will end at an age when other profession- sustain injuries. Under the plan, the employee benefits als are just reaching their peak. Dancers face a critical company, Cigna, pays “reasonable and necessary” decision of whether to stay in or leave the world of dance, expenses incurred, up to a limit of CA$5,000 sometimes turning to related professions such as dance (U.S.$3,800), for special training in an occupation that teaching, which provide employment but not necessarily the member did not engage in before being injured. Also satisfaction, and offer uncertain income prospects. Our in Canada, the Al and Malka Green Artists’ Health Centre findings indicate that retraining often is the path to high- provides a variety of medical and complementary health er income and satisfaction in a variety of careers. A num- services to artists, many of which are covered by the gov- ber of measures can be taken to ameliorate the difficulties ernment health care programme. And, in Finland, the “Act of the dancer’s transition, not the least of which are steps on the Pensions of Artists and Some Particular Group of to increase awareness by those in the dance world—espe- Short-Term Workers” allows self-employed artists to pay cially those responsible for the dance companies them- reduced-rate pension contributions, as if they were selves—of the challenge of transition and its place as a employees rather than self-employed. There is also an natural component of the dancer’s career. artists’ supplementary pension system for artists over 60 years of age. The government distributes about thirty-five The four dancer career transition centers, along with the supplementary artists’ pensions each year in recognition International Organization for the Transition of of the particular achievements of creative and performing Professional Dancers in Switzerland, are responsible in artists. large part for increased awareness of dancers’ career transition issues over the last thirty years. Their continued There also are preventive health programs that focus on leadership, and their path-breaking example for the cre- dancers’ health while their dancing careers are still under- ation of such centers in other countries, will help to way. For example, the Pittsburgh Ballet (whose summer improve the circumstances of dancers worldwide, those program called “Healthy Dancer Strategies” includes con- on whom we depend for realization of this invaluable art, ditioning workouts, Pilates classes, flexibility, aerobics and who thereby contribute profoundly to society’s culture and strength training, as well as musculoskeletal screen- and bring enormous pleasure to the world. ings and seminars on sports psychology, pointe shoes and stress management) offers one such program.

PG 70 Making Changes CONCLUSIONS AND RECOMMENDATIONS

“. . . what is honoured is cultivated, and that which has no honour is neglected.”

—Plato, The Republic, Book VIII

The aDvANCE Project PG 71 AGING

Barnes, Clive, “Barnes On…the plight of the aging Bibliography dancer,” Ballet News, April 1982, p. 46. Borgins, J., “When the Dancing Stops,” Dance and Dancers, September 1982.

Clark, Kenneth, The Artist Grows Old, London: Cambridge University Press, 1972.

Croce, Arlene, “Dancing: Hard Facts,” New Yorker, February 3, 1986, pp. 86–89.

Greben, Stanley, E., “Dealing with the Stresses of Aging in Dancers,” Medical Problems of Performing Artists, Vol. 7, No. 4, December 1992, pp. 127–131.

Jowitt, Deborah, “A Dancer’s Dilemma: Getting Old,” Village Voice, March 17, 1975, pp. 117–118.

he aDvANCE project carried out an extensive inter- Koegler, Horst, “Trust Somebody Over Forty: A Plea for national literature review in order to survey the Senior Dancers to Come Out of their Closet,” Ballett T existing research and studies relevant to this field. International, Vol. 14, No. 12, December 1991, pp. The review included studies of the structure of the dance 23–25. industry or of the wider performing arts industries of which dance is one component; studies of dancers based New York Public Library, Lincoln Center Branch, Dance on sample surveys which are either dancer-specific or Research Collection Clippings File, Dancers Aging, New cover all types of artists of which dancers are one catego- York, 2002. ry; case-studies of individual dancers as revealed, for example, by biographies or autobiographies; and existing Robertson, Nan, “Artists In Old Age: The Fires of research into the particular problems of career transition Creativity Burn Undiminished,” The New York Times, in dance or in related or neighboring fields. A bibliography January 22, 1986, Section C, p. 1. was created using the extensive Artists’ Bibliography prepared by the Research Center for Arts and Culture at Schaik, Eva van, “The Discrimination of Age in Ballet,” Columbia University (www.tc.columbia.edu/centers/rcac), Ballett International, Vol. 14, No. 12, December 1991, and via further investigation of dance and, more specifi- pp. 17–21. cally, career transition. The available academic studies generally include studies by psychologists, sociologists, Segal, Lewis, “En Pointe and Poignant: Dancers on nutritionists and scholars (some of them former dancers) Aging,” Los Angeles Times, August 23, 2000, p. 3. examining a range of phenomena often related most directly to dancers but whose analysis can be generalized Seigal, Marcia B, “Growing Old in the Land of the Young” to others. These characteristics include workplace stress, Hudson Review, Vol. 24, No. 2, Summer 1976, pp. eating disorders, aging, body image, psychological devel- 249–254. opment, early training and psychological development. Solway, Diane, “In A Dancer’s World, the Inexorable Foe Is Time,” The New York Times, June 8, 1986, Section 2, p. 1.

The aDvANCE Project PG 73 “Pensions & Retraining Schemes,” in After the Dance: A BIBLIOGRAPHY Report from 1982 Conference on Career Transition for Dancers, New York: Lincoln Center for the Performing ARTS LABOR MARKET Arts, 1982, pp. 30–31.

Gray, C.M., “Nonpecuniary Rewards in the Performing The Dancer of the XXI Century: Education for Transition Arts Labor Market: A Case Study of Dancers and in a Changing World, Symposium Report, The Choreographers,” W.S. Hendon, et al., eds., in The Netherlands: Theater Instituut Nederland, 1998. Economics of Cultural Industries, Akron, Ohio: Association for Cultural Economics, 1984. The Dancer in Transition: A Preliminary Study for the International Symposium, Switzerland: UNESCO and the “Life after dance: Pensions, Resettlement and Training University of Lausanne, 1995. Schemes,” Dance Theatre Journal, Vol. 3, No. 3, Autumn 1985, p. 30. Transitions, Toronto, Canada: Dancer Transition Resource Centre, 2000. CONFERENCE AND PROJECT REPORTS Beall, Catherine, Dancers’ Transition: A Report “A Second Career For Dancers through The Dancers Investigating the Needs of Professional Dancers Making Resettlement Fund,” in After the Dance: A Report from Career Transitions, Australia: Actors Equity of Australia, 1982 Conference on Career Transition for Dancers, New 1989. York: Lincoln Center for the Performing Arts, pp. 32–36. Beamesderfer, Alice O., and Abigail Stockman, “An “Arts in Transition Project: Report and Discussion Paper,” Assessment of the Career Counseling Needs of Performing Working Paper, Canadian Conference of the Arts, Artists,” working paper, Division of Extension and Public Canada, October 1997. Service, New York State School of Industrial and Labor Relations, Cornell University, Ithaca, New York, March Canada Council for the Arts, Impact of Canada Council 1981. Individual Grants on Artist Careers, Results of Research on Grant Patterns and Discussion Groups with Individual Brinson, Peter. “The Healthier Dancer: A Report of Dance Artist Grant Recipients, 1999, available at UK’s Healthier Dancer Conference.” International Working http://www.canadacouncil.ca/artsinfo/research/report06- Papers in Dance Studies, Laban Center for Movement and e.html, accessed April 2002. Dance, Laurie Grove, London, October 1991. Canada Council for the Arts, Research Unit, “A Review of Social Benefit and Support Programs Available to Dancers Crookshanks, Debra, Safe Dance III Report, Canberra: and Other Artists in Canada and Other Countries,” April Australian Dance Council, 1999. 2003. Eastcott, Doris Rajan, Executive Summary: Artists and Dancer Transition Project, Montreal, Canada: Cogem, Health Needs Assessment Research Report, Toronto, Inc., February 1985. Canada: Artists’ Health Center, April 1996.

Dancer Transition Resource Centre, Tenth Year Follow-Up Geeves, Tony, “Metamorphosis of a Dancer” in Hilary Research Report, Toronto, Canada: Britor and Associates, Trotter, ed., Dance UK Information Sheet: SAFE DANCE May 1996. REPORT: A Report on Dance Injury Prevention and Management in Australia, Australia: Australian Grant Recipient Survey Results Report, New York: Career Association for Dance Education in Association with the Transition for Dancers, 2000. National Arts Industry Training Council, 1990.

IST Symposium: For the Dancer in Transition/Pour la Sutherland, David Earl, “Is There Life After Dance? Social Reconversion Du Dancer: Proceedings/Actes, Lausanne: and Gerontological Reflections on Dancing Careers,” in IOTPD, 1995. After the Dance: A report from 1982 Conference on

PG 74 Making Changes Career Transition for Dancers, New York: Lincoln Center BIBLIOGRAPHY for the Performing Arts, 1982, pp. 37-49.

Weber, Lilo, “Dancer in Transition: A Symposium in DANCER TRANSITION AND ALTERNATIVE Lausanne on the Problems of the Aging Dancer,” Ballett CAREERS International, Vol. 7, July 1995, pp. 47-49. Borgins, J., “When the Dancing Stops,” Dance and Weston, Edward Henry, ed., After the Dance: A report Dancers, September, 1982. from 1982 Conference on Career Transition for Dancers, New York: Lincoln Center for the Performing Arts, June 8, Campbell, Elizabeth, “Qualitative Transitions,” 1982. Dance/USA Journal, Vol. 12, No. 4, Spring 1995, p. 22.

White, Barry and Graham Guest, A Report on the Career Dunning, J., “Alternate Career Series,” Dance Magazine, Options of Dancers Project, Arts Training Australia, November 1976. 1995. Eley, Susie Eisner, “After the Curtain Call: Stellar DANCER HEALTH AND MEDICAL PROBLEMS Organization Guides Dancers to a Career Beyond the Dance Floor,” Dance Teacher, December 1999, pp. Greben, S.E., “The Dancer Transition Centre of Canada: 94–96. Addressing the Stress of Giving Up Professional Dancing,” Medical Problems of Performing Artists, Vol. 4, 1989, p. Greben, Stanley E., “14 Career Transitions in Professional 128. Dancers,” Journal of Dance Medicine & Science, Vol. 6, No. 1, 2002. Lee, Susan A., “Adult Development and Female Artists: Focus on the Ballet World,” Medical Problems of Greben, Stanley E., “Life After Dance,” Dance Magazine, Performing Artists, Vol. 4, No. 1, March 1989, pp. September 1985, p. 78. 32–37. Hamilton, Linda H., Edward Bristow and Michael J. DANCER TRAINING Byars, “20 College Programs for Professional Ballet Dancers: The Impact on Career Transition,” Journal of Calouste Gulbenkian Foundation, Dance: Education and Dance Medicine & Science, Vol. 6, No. 1, 2002. Training in Britain, London: Dance Books, 1980. Horosko, Marian, “Career Change,” Dance Magazine, Frederico, Ronald C., “Recruitment, Training and April 1982. Performance: The Case of Ballet,” in Phyllis L. Steward and Muriel G. Cantor, eds., Varieties of Work Experience: ______, “Help is on the Way,” Dance Magazine, The Social Control of Occupational Groups and Roles, September 1982, p. 90. New York: John Wiley and Sons, 1984, pp. 249-261. ______, and J.F. Kupersmith, “Loss of Career,” in Levine, Mindy, “Developing the Whole Dancer: Issues and The Dancer’s Survival Manual, New York, 1984. Challenges for Ballet Training Institutes,” Winston-Salem, North Carolina: Kenan Institute for the Arts, North Jacka, Marion, “Is There Life After Dance?,” Dance Carolina School of the Arts, 2002. Australia, October/November 1995, p. 22–26.

Mayleas, Ruth, The Condition of Professional Training Jary, Suzie, “Dancers Reconsider Career Options,” Dance and Career-Development Opportunities in the Dance, Magazine College Guide, 2001–2002, p. 68. Opera-Musical Theater, and Theater Fields, National Endowment for the Arts, March 1980. Jefferson, Denise, “Ailey-Fordham Union Ups Educational Ante,” Dance Magazine College Guide, 2001–2002, p. 109.

The aDvANCE Project PG 75 Pierpont, M., “Physical Therapy, A Career for Dancers,” BIBLIOGRAPHY Dancer Magazine, November 1982.

Kent, Allegra, Once a Dancer, St. Martin’s Press, 1997 Pugh, Clifford, “Turning Point,” Houston Chronicle, March (see chapter on transition) 26, 1998, Section D.

King, Jane, “Is there Life After Dance?: The Problems of a Reiter, Susan, “The Next Step,” Newsday (Long Island), Profession, Example: Great Britain,” Ballett International, July 12, 1998, Section D12. Vol. 14, No. 12, December 1991, pp. 13–15. Reyes, Teresa, “Educational Funding Models for the Kirkland, G., and Greg Lawrence, Dancing on My Grave: Career Transition of Professional Dancers,” masters the- An Autobiography, Garden City, New York: Doubleday, sis, Teachers College, Columbia University, 1999. 1986 (autobiography of a dancer). Salisbury, W., “Dancers Need Help During Transitions to Johnson, Robert, “Shall We Not Dance,” Sunday Star Other Careers,” Plain Dealer, December 7, 1986. Ledger, May 31, 1998. Saposnek, S., “After the Ballet: The Effects of Career Laakkonen, Johanna, “Career Transitions of Dancers in Transition on Sense of Identity, Self-Concept, and Body Finland,” Helsinki, Finland: Theatre Academy of Finland Image,” masters thesis, Reed College, 1995. Further Education Centre, photocopy. Segal, Lewis, “A Gracefully Taken New Turn,” Los Angeles Leach, Barbara, ed., The Dancer’s Destiny, Lausanne, Times, September 19, 2000, Section F, p. 1. Switzerland: International Organization for the Transition of Professional Dancers, 1997. Sidimus, Joysanne, Exchanges: Life After Dance, Toronto, Canada: Press of Tersichore, 1987. Lee, Susan A., “Retirement and the Professional Ballet Dancer at Age 30: Women at a Turning Point,” Dance: Suki, John, “Giving a Lift To Dancers Moving On After Current Selected Research New York, AMS Press 1, Dance,” The New York Times, November 25, 2001, 1989, pp. 63–76. Section 2, p. 6.

L’Opéra National de Paris, Summary of the Study of Trotter, Hilary, ed., New Moves: A Career Development Career Transition of Former Dancers from the Paris Manual for Dancers, Sydney: Ausdance NSW, 1997. National Opera, Paris: CAPFOR Evolution, L’Opéra de Paris, 2002. Upper, Nancy, Ballet Dancers in Career Transition, Jefferson, North Carolina: McFarland & Company, Inc., Marr, Mimi, “Where do They Go When the Dancing 2004. Stops?,” Dance Magazine, September 1975, pp. 64–66. Wallach, Ellen, Life After Performing: Career Transitions Mason, Janet Lynn, “Career Endings: An Exploratory for Dancers, Dance/USA, 1998. Study of Ballet Dancers,” dissertation, California School of Professional Psychology, Berkeley/Alameda, 1993. Wennerstrand, Anne, “Advice for Grown-Up Dancers: 4/15/01, ABUN-DANCE, Creative Solutions to the Meredith, Leda, “Dancer’s Next Steps,” Pointe, Second Job Dilemma,” The Dance Insider, available at September/October 2001, pp. 62–64. http://www.danceinsider.com, accessed January 2002.

North, J. and D. Lavallee, “An Investigation of Potential ______, Advice for Grown-up Dancers: Users of Career Transition Services in the United 12/19/01: Toxic Envy: Two-stepping with the Green Kingdom,” Psychology of Sport and Exercise, 2003. Monster, The Dance Insider, available at http://www.danceinsider.com, accessed January 2002.

PG 76 Making Changes ______, Advice for Grown-up Dancers: BIBLIOGRAPHY 11/30/00: When Are you Going to Quit Dancing and Get a Real Job?, The Dance Insider, available at http://www.danceinsider.com, accessed January 2002. Paritzky, Adina Beth, “How Dancers Leave Dancing: A Hermeneutic Investigation of the Psychosocial Factors in OVERVIEW OF THE FIELD Career Change,” dissertation, University of California at Los Angeles, 1995. Levine, Mindy, “Local Issues, National Trends,” Dance/USA Journal, Vol.16, No.2, Winter 1999,: pp. Perreault, Michel, “La Passion et le corps comme objets 16–19, 26. de la sociologie: la danse comme carrier,” Sociologie et Societes, Vol. 20, No.2, 1988, pp. 177–186. Munger, John R., “Dancing with Dollars in the Millennium,” Dance Magazine, April 2001, pp. 1–14. Pickman, Alan J., “Career Transitions for Dancers: A Counselor’s Perspective,” Journal of Counseling & Netzer, Dick and Ellen Parker, Dancemakers: A Study on Development, Vol. 66, No. 4, December 1987, pp. Choreographers in Four American Cities, Washington, 200–201. D.C.: National Endowment for the Arts, November 1993. Schnitt, Jerome M., and Diana Schnitt, “Psychological Pidoux, Jean-Yves, La Danse Art de Xxe Siècle, Issues in a Dancer’s Career,” pp. 238–253. Lausanne, Switzerland: Editions Payot, 1990. VIDEOCASSETTES Zimmer, Elizabeth, “What’s Eating the Dance World?,” Village Voice, 2001, available at http://www.vil- A Dancer’s Regime: Life After Performance Career, Eye lagevoice.com/issues/0117/zimmer.php. on Dance 231, directed by Richard Sheridan, 28 min- utes, Arc Videodance, 1987 (videocassette). PSYCHOLOGICAL ASPECTS OTHER Au Coeur De La Danse, Faculte Des Sciences, Sociales Et Politiques, Institut de Psychologie, Fevrier, 1990. “Decade-Long Study Shows U.S. Dance Facing Cash Fight,” available at http://www.backstage.com. Buckroyd, J., “Why do Dancers Dance? Leaving the Stage,” Dancing Times, December 1986, p. 229. Ingram, A., “Dance and Support,” International Review of Sport Sociology, Vol. 13, No. 1, 1978, pp. 85–97. Earl, William L., A Dancer Takes Flight: Psychological Concerns in the Development of the American Male McKnight Foundation, Cost of Culture Survey, Dancer, Maryland: University Press of America, 1988. Minneapolis, Minnesota: McKnight Foundation, 1999.

Gurley, V., A. Neuringer, and J. Massee, “Dance and Miles, Jack and Douglas McLennan, “Is Dance a Lesser Sports Compared: Effects on Psychological Well-Being,” Art Form?,” Arts Journal, 2002, available at http://art- Journal of Sports Medicine, Vol. 24, 1984, pp. 58–68. sjournal.com.

Lee, Susan A., “Psychosocial and Developmental Sussmann, Leila, “Recruitment Patterns: Their Impact on Perspective on Women and Transition in Ballet as present- Ballet and Modern Dance,” Dance Research Journal, Vol. ed at OIRDP/IOTPD,” working paper, Northwestern 22, No. 1, Spring 1990, pp. 21–28. University, 1995. Sutherland, David Earl, “Ballet as a Career,” Society, Keinanen, M., L. Hetland and E. Winner, “Teaching November/December 1976, pp. 40–45. Cognitive Skill through Dance: Evidence for Near but Not Far Transfer,” Journal of Aesthetic Education, Vol. 34, Nos. 3-4, Fall/Winter 2000, pp. 295–307.

The aDvANCE Project PG 77 Making Changes Part Two

COUNTRY PROFILES AND ANCILLARY MATERIALS

SOCIO-ECONOMIC CHARACTERISTICS OF DANCE IN ELEVEN NATIONS: UNABRIDGED COUNTRY PROFILES SOCIO-ECONOMIC CHARACTERISTICS OF DANCE IN ELEVEN NATIONS: COUNTRY PROFILES CREDITS UNABRIDGED COUNTRY PROFILES

AUSTRALIA The country profiles in this section were assembled by the David Throsby, Macquarie University aDvANCE data partners listed to the left and edited by the Research Center for Arts and Culture, Teachers College, CANADA Columbia University. Joysanne Sidimus, Dancer Transition Resource Centre and Claire McCaughey, The Canada Council for the Arts Please note that currency conversions have been provided throughout for comparison. Also references have been list- ENGLAND ed as provided by our data partners and therefore appear Jeanette Siddall, Arts Council England in different formats. Readers desiring additional information should contact the Research Center for Arts and Culture at FRANCE [email protected]. Pierre-Michel Menger, Centre National de la Recherche Scientifique

GERMANY Pia Hartmann, Hartmann Nagel Art & Consulting

HUNGARY Andrew Princz, ontheglobe.com

JAPAN Keiko Fukui, Geidankyo

MEXICO Gabriela Medina, La Manga Dance Company

THE NETHERLANDS Paul Bronkhorst, Dutch Retraining Program for Professional Dancers and International Organization for the Transition of Professional Dancers

SWITZERLAND Annemarie Parekh, Pro Helvetia, Arts Council of Switzerland and Adrian Schriel, Tanz Ensemble Cathy Sharp

UNITED STATES Joan Jeffri, Annemarie Schoepfer, and Lauren Tehan, Columbia University, Teachers College

The aDvANCE Project PG 81 The growth of dance was further enhanced during the 1960s and 1970s with the establishment of formal training programs in dance, such as the summer schools at the University of New England, and with the introduc- Part Two: I tion of a range of tertiary-level dance courses from the late 1970s onward. At the same time, the spread of television and the increased number of international and DANCE local music theater productions provided a widening range of opportunities for dancers in the commercial sec- IN tor. Today, the dance industry in Australia is a well-developed AUSTRALIA and highly differentiated branch of the performing arts, covering all genres and styles and operating through a range of commercial and non-commercial channels. Australian dance has a significant following across the country; and international tours by companies such as the Australian Ballet, the Sydney Dance Company, Bangarra Dance Theatre, and many others have established a distinctive presence for Australian dancers and choreographers on the world stage. ance has existed in Australia for over 40,000 years, that is, for as long as the indigenous peo- In this report, we consider the organizational structure of D ple of this country have inhabited the land. dance in Australia, the situation of individual dancers, Dance is an integral part of the corroboree and other cer- characteristics of audiences, funding issues, and dance emonies of the Aboriginal and Torres Strait Islander peo- education and training. We conclude with observations ples, and traditional dance is still practiced in some about the problem of transition as it affects dancers and remote communities. Traditional stories and modes of choreographers in the country. practice also inform the work of indigenous dancers and at least one dance company (Bangarra Dance Theatre) ORGANIZATIONAL STRUCTURES working in the mainstream of contemporary Australian arts. A wide variety of organizations produce, present, and support dance in Australia, ranging from the major The development of a European dance culture in national and state-subsidized companies to small com- Australia dates from the nineteenth century. Highlights in panies and independent choreographers and producers the modern era include the visits of the Anna Pavlova who receive only limited funding. Company in 1926, the Ballet Russe in 1940, and the Ballet Rambert in 1947–1949. Some members of these The major companies include the national, state and companies stayed in Australia to help foster the develop- other “flagship” dance companies funded by the Major ment of professional dance activity, which was further Performing Arts Board of the Australia Council. The five stimulated by migration from Europe during the 1930s, companies in this category are the Australian Ballet (the 1940s, and 1950s. In particular, the arrival of Edouard major classical ballet company); the Queensland and Borovansky in 1938 and of Gertrud Bodenwieser in Western Australian Ballet companies (both presenting 1939 led to an expansion of classical ballet and modern classical as well as contemporary works); the Sydney dance, respectively. During these years, the commercial Dance Company (the largest contemporary dance company J.C. Williamson’s expanded its activity. A major ensemble); Australian Dance Theatre (the oldest contem- milestone was reached in 1962 when the national clas- porary dance ensemble, based in Adelaide); and sical ballet company, the Australian Ballet, was founded. Bangarra Dance Theatre (the principal indigenous dance company).

The aDvANCE Project PG 83 Dancers in this sector may also be employed in the film PART TWO: I and television industries, as well as in corporate events. Employment for dancers in this non-subsidized sector These companies attract relatively large amounts of fund- tends to be transient and sporadic at best. Some dancers ing from both the Australia Council and state arts agen- from the larger subsidized companies may find work in cies. They have local, national and international profiles. these commercial areas. They have a substantial subscriber and general audience base and receive significant funding via sponsorship deals Major venues such as the Opera Theatre and Drama with the corporate sector. The repertoire these organiza- Theatre of the Sydney Opera House and the Performing tions offer varies from traditional to contemporary dance, Arts Centres in Melbourne, Brisbane, and Adelaide, including dance theater. together with some commercial theaters in the capital cities, provide facilities for dance companies of all sizes, There are about 20 small to medium-sized companies although Australia has no performance space dedicated nationwide, located in major urban and regional centers. solely to dance. The medium-sized and smaller compa- They receive annual funding from the Australia Council nies and independent artists tend to rely on smaller con- and from state or local governments, but the amounts are temporary arts centers that have a capacity for presenting considerably less than those awarded to the major com- dance; these spaces include PICA (Perth), the panies. They are less likely than the major companies to Performance Space and the Sydney Opera House Studio attract corporate sponsorship because of their smaller (Sydney), Dance House (Melbourne), and the Brisbane audiences. They are almost entirely involved in contempo- Powerhouse. In the regions, local and touring companies rary work, tending to be more experimental and less pop- generally have to make do with multipurpose performance ulist in genre than the larger companies. Some have had spaces that are sometimes ill-equipped for the presenta- a critical impact nationally, and as a result their work has tion of dance. been included in festivals such as the Melbourne International Festival and the Sydney Festival. Some of The peak body of dance in Australia is Ausdance, which these companies, as well as their choreographers and has a federal structure comprising a series of state dancers, have also received international recognition. branches located in each of the capital cities and a national office in Canberra. Ausdance provides a national There are 30 or more small companies that operate from voice for the development of dance and dance education a very low financial base, receiving subsidy on a project in Australia. It also acts in an advocacy role to all levels basis rather than as continuing operational support. The of government. It does not function as an agent, produc- amounts of funding are small, and the scope for supple- er, or industrial relations body. mentary financial support through sponsorship, merchan- dising, subscriptions, and similar categories is limited or There is also a union, the Media, Entertainment and Arts nonexistent. As with a number of companies in the previ- Alliance (MEAA), which represents a range of different ous two categories, these ensembles are often built types of artists—including dancers—in industrial matters around the talent of one key individual. This category also such as contracts, fees, wages, and working conditions. includes individuals who operate independent of a formal In addition, the Artslaw Centre, based in Sydney, provides company but within an interdependent infrastructure. The advice and support for artists and arts organizations— companies and individual artists in this category are ded- including those in the dance sector—on a variety of legal icated to experimentation, research, and development; concerns. hence there is considerable interaction with the small to medium-sized companies. PERFORMANCE INDICATORS

The non-subsidized sector comprises mainly commercial In this section, we consider the size and activity levels of and musical theater productions, often produced or co- the different types of dance companies categorized earli- produced by multinational companies such as IMG, the er. Really Useful Company, and Cameron Macintosh. Australian producers such as Kevin Jacobson and David Turning first to the major companies, Table 1 (pg. 91) Atkins frequently co-produce with these companies. presents statistics for these companies derived from the

PG 84 Making Changes 1999 Major Performing Arts Report (the Nugent Report). DANCE IN AUSTRALIA (Please note that numbered tables are located at the end of this profile, under the heading “Data for Australia.”) The Australian Ballet stands out as by far the largest and small companies because subsidy (although small in most active of the ensembles, with more than 150 per- absolute terms) forms a substantial percentage of their formances and revenue in excess of AU $20 million (U.S. total income. $15.8 million)1 in 1997. Although government subsidy comprised about one-fifth of its total income that year, a On the expenditure side, the significant proportion of smaller proportion than that of any other major dance costs the large companies spent on marketing and admin- company, the Australian Ballet still accounted for the istration is noteworthy. largest absolute amount of subsidy—receiving about AU $4 million (U.S. $3.2 million) in 1997, more than three DANCE COMPARED TO OTHER PERFORMING ARTS times the level of assistance to any other major dance company. Nevertheless, more than half its income in In 1999–2000, income from dance was 8.6 percent of 1997 came from box office, a higher proportion than that total performing arts income and the majority of this for any other member of this group. Furthermore, the dance-related income (97 percent) was derived from gov- company’s level of subsidy per seat that year was lower ernment-subsidized companies. than the other companies in this group. A broader view of the operations of the dance industry The Sydney Dance Company, the largest contemporary (both subsidized and commercial) as a component of per- ensemble, had revenue of about AU $5 million (U.S. forming arts activity in Australia is provided by a survey $3.9 million) in 1997, of which about one-quarter came carried out by the Australian Bureau of Statistics (ABS) in from government. This company and the Australian Ballet 1999–2000. As seen in Table 3 (pg. 93), the total acquired the lion’s share of sponsorship income in 1997 income of the music and theater production industry that because they have a higher profile than other, more local- year was just over AU $500 million (U.S. $394.6 mil- ly focused or specialized groups. lion), of which just over AU $40 million (U.S. $31.6 million), or 8.6 percent, came from dance. The vast majori- Data for the smaller companies are more difficult to find. ty of this dance-related income (almost 97 percent) was The Positive Solutions report for the Dance Board of the derived from government-subsidized companies, indicat- Australia Council (2003) gives indicative data from a sur- ing the essential role of public funding in sustaining the vey of a sample of companies for 2001. In Table 2 (pg. dance industry in Australia. For all the dance companies 92) these data are put together with statistics for the included in the ABS survey, box office comprised one- major companies to provide a comparison of the “typical” third of total revenue, with about the same proportion company in each group. No significance should be coming from subsidy. Fundraising made up little more attached to the dollar amounts shown in this table, which than one-tenth of total dance income. Compared to the are included simply to indicate orders of magnitude; how- other performing arts, dance is more reliant on subsidy ever, the percentage distributions of revenue and expendi- than any other type of production apart from symphonic ture can be taken as providing a reasonable comparison music. between the different operating circumstances of companies in each group. In regard to performances and attendance, Table 4 (pg. 94) reveals that of all performances mounted by perform- On the revenue side, it is apparent that both box office ing arts organizations in Australia in 1999–2000, around and sponsorship income constitute a smaller proportion of six percent were in the dance sector, accounting for about total revenue for the smaller companies than for the five percent of total paid attendance. The number of majors. At the same time, government support is impor- attendees per performance in dance that year was 244, a tant for all the ensembles—for the large companies slightly lower figure than that shown for the major dance because of the absolute size of their subsidy and for the companies in Table 1.

1 U.S. $1 = AU $1.27. Currency conversion: http://www.xe.com/ucc/

The aDvANCE Project PG 85 age distribution and mean and median ages for both PART TWO: I established professionals and “main job” dancers. These age data can be compared with those for other types of DANCERS AND CHOREOGRAPHERS artists: the artists’ survey shows that both mean and median ages for professional artists in all other art forms Of the approximate 1,250 professionals in the dance sec- (writers, visual artists, actors, musicians, and the like) tor, two-thirds work primarily as dancers and one-third exceed 40 years. work as choreographers. Among the dancers, the largest single group classify themselves as “contemporary” The distribution of practicing professional dancers and dancers. choreographers among styles or genres of dance is as follows: Census data indicate that just over 1,000 persons in Australia identified their “main job” as dancer/choreogra- Dancers Percent of total pher in 2001. In addition, a similar number were listed Classical 4 as “actors, dancers, and related professionals not else- Contemporary 23 where classified;” it appears that the great majority of the Indigenous/traditional 5 latter group are actors, indicating that only a slight Independent 7 upward revision of the main dancers and choreographers Cabaret/commercial 19 figure is needed to account for unclassified individuals. Other 10 Thus, between 1,000 and 1,500 persons can be identi- Subtotal 68 fied as dancers and/or choreographers in the Australian workforce at present. Independent estimates based on Choreographers aggregated lists of dancers from companies, professional Independent 21 organizations, and other groups put the number of prac- Resident 8 ticing professional dancers and choreographers in 2001 Other 3 at approximately 1,250, a figure consistent with the cen- Subtotal 32 sus data (Throsby and Hollister, 2003). In addition, the census lists around 3,500 private dance teachers. Total 100

Since the census catches only those individuals who iden- Given the technical skills required to become a profes- tify “dancer/choreographer” as their main job during the sional dancer, it is not surprising that almost all (94 per- week of the census, it excludes some part-timers and cent) have engaged in formal training of some sort, with those out of work during the census week but includes about half having also undertaken private tuition at some some (especially among younger age groups) not yet stage. Table 7 (pg. 95) shows the proportions of dancers regarded as properly professional. Since our concern is who have undertaken different types of training and the primarily with established professional dancers, the sta- proportions that regard each type of training as having tistics presented here are based mainly on the Individual been most important to them in providing the basic skills Artists’ Survey results because they cover all practicing necessary to become a professional dancer. Two-thirds of professionals defined according to specific criteria dancers look back to their formal dance training as hav- (Throsby and Hollister, 2003). In some cases, census ing been most important, but a significant number (20 data are also listed for comparative purposes. percent) see learning on the job as of greatest significance to them. The average length of time dancers spent train- Table 5 (pg. 94) shows the total numbers of practicing ing was about six years. professionals and “main job” dancers and choreographers in 2001. Data for actors and musicians are also given in Dancers begin their professional careers at a very early this table for comparison. The predominantly female com- age, and about one-third earn their first income as a position of the dance workforce is evident, in contrast to dancer before training has been completed. Most dancers the preponderance of males in acting and (especially) can identify a single moment at which they believe their music. The other striking characteristic of dancers is, not professional career became established—whether it was surprisingly, their young age. Table 6 (pg. 95) shows the completing training (nine percent of all dancers), earning

PG 86 Making Changes their first income (14 percent), receiving a grant or other DANCE IN AUSTRALIA financial assistance (14 percent), or, most important, getting their first significant professional engagement (36 percent). The median age at which this establishment (including superannuation, investments, property, and the “moment” occurred is 25 years. like), only one-fifth of these dancers regard their arrangements as adequate to meet their future financial needs. A number of factors can advance or retard the development of a professional career in dance. Table 8 (pg. 96) Finally, the industries employing dancers and choreogra- shows the proportions of dancers identifying various fac- phers are classified by the ABS on the basis of the stan- tors as most important in advancing or holding back their dard definitions of “cultural” and “other” industries. Table professional development, both throughout their careers 11 (pg. 97) shows the industries employing both dancers and at present. Training and the support and encourage- and dance teachers in two census years, 1996 and ment of family and friends emerge as the most significant 2001. The large numbers of dancers who work in “other” positive factors, whereas dancers see lack of financial industries would appear to be explained by the fact that return from creative work and time constraints imposed most are freelancers rather than employees and hence are by the need to earn an income elsewhere as the most sig- allocated to independent contractor status rather than to nificant factors impeding their professional development. employment in the cultural sector. Similarly, dance teachers are likely to be allocated to “education” rather than to The lack of financial returns from creative work forces a cultural industries as such. number of dancers to seek other employment. In some cases work can be found within the art form, for example, AUDIENCES in teaching dance or administering a dance company; in other cases dancers must find work outside the arts to In 1999, only nine percent of the population attended a earn a living and support their creative practice. Table 9 dance performance—a smaller proportion than went to (pg. 96) shows the average allocation of working time by the opera or theatre, although a larger proportion than dancers among these various types of work. It is apparent attended a classical music concert. that only a little more than half of an average dancer’s working time is devoted to creative work. Only 16 percent The ABS conduced two recent surveys of attendance at of all dancers work 100 percent of the time at creative selected venues and activities (1995 and 1999). Table work (defined to include preparation, research, rehears- 12 (pg. 98) shows total attendance and attendance rates ing, and career administration as well as performing), for a range of cultural consumption activities. The 1999 although 60 percent of dancers spend all their working survey of attendance rates distinguished between capital time at some type of arts-related work (including teach- cities and noncapital-city areas in each state. The survey ing). noted that 884,000 persons attended dance performances in capital cities—an attendance rate of 9.5 percent— These characteristics of dancers’ working lives are reflect- compared with 461,000 in regional areas (8.3 percent ed in their incomes. Table 10 (pg. 97) shows mean and attendance). Capital cities had higher attendance rates in median incomes for dancers in 2000–2001. It is appar- all categories except for “other performing arts” and circus ent from these figures that the distribution of creative performances. Dance performances attracted more incomes among dancers is skewed toward the lower female than male attendees; 11.2 percent of the female income groups. Indeed, 31 percent of dancers earned less population attended a dance performance in 1999, but than AU $10,000 (U.S. $7,900) from their creative work only 6.8 percent of males did so. in 2000–2001. At the other end of the scale, only six percent of dancers earned more than AU $50,000 (U.S. It is apparent from Table 13 (pg. 98), which shows dance $39,400) from all arts and non-arts work combined. attendance by age group, that dance appeals particularly to the very young and the middle aged but is less well Looking beyond their dancing careers, most dancers do attended by people in their twenties or those over 55. not regard their financial arrangements as adequate to Dance attendance is also skewed toward better-educated meet their needs. Although around 85 percent do have members of the population, in common with other per- some form of provision for their future financial security forming arts, as Table 14 (pg. 99) demonstrates.

The aDvANCE Project PG 87 In recent years, at both commonwealth and state levels, PART TWO: I funding policy has gradually shifted toward a greater emphasis on project-based rather than recurrent funding, Nevertheless, the preponderance of people with higher much like trends elsewhere in the contemporary perform- educational qualifications is less marked for dance than it ing arts in Australia and in other countries. These shifts is for classical music, opera, and especially drama. are particularly associated with the emergence of new dance forms, including experimentation with fusion of Frequency of attendance is an important factor that varies contemporary and ethnic dance, the use of new technolo- considerably from venue to venue. Of the 1,345,000 per- gies such as film and video, and similar innovations. sons who attended dance performances in 1999, an estimated 782,900 (58.2 percent) attended once only, Levels of dance funding from local governments are 453,600 (33.7 percent) attended two to four times, and unknown but are likely relatively modest. The total contri- 108,500 (8.1 percent) attended five or more times. bution of local governments to the performing arts in 2000–2001 was AU $28.6 million (U.S.$22.5 million), FUNDING suggesting that dance activities may have received perhaps AU $3 million (U.S.$2.4 million). Even more than Governments fund dance companies extensively: over the the states and territories, however, local governments last three years, the commonwealth has increased its support infrastructure development; they allocated AU share of government funding for dance from just under to $48.8 million (U.S.$38.5 million) to funding performing just over 50 percent. Dance receives about 12 percent of arts centers in 2000–2001. Local governments also total commonwealth, state, and territory funding of the funded AU $132.5 million (U.S.$104.4 million) for pub- performing arts. lic halls and civic centers, which often provide venues for the performing arts in rural and regional Australia. Commonwealth funding is provided by the Australia Council through the Major Performing Arts Board and the EDUCATION AND TRAINING Dance Board, supplemented by Aboriginal and Torres Strait Islanders Arts, Community Cultural Development, Between 1992 and 2000, total student numbers appear and New Media Arts. This funding amounted to over AU to have climbed from 349 to 564, with the growth con- $11 million (U.S. $8.7 million) in 2001 and 2002. Just centrated between 1995 and 2000. under AU $1 million (U.S.$800,000) in funds for touring comes from the Department of Communications, The main universities involved in dance instruction are Information Technology and the Arts through the “Playing the University of New South Wales, the University of Australia” program. Each state and territory government Western Sydney, the University of Melbourne, Queensland also supports dance, providing over AU $11 million University of Technology, and Edith Cowan University, (U.S.$8.7 million) in support in 2002. Relevant data are Western Australia. Some other institutions have appeared shown in Tables 15 and 16 (pg. 100 & 101). intermittently on the list. At present, six institutions provide approximately 20 courses. (See Tables 17 and 18 Funding for the arts takes different forms at the various [pg. 102 & 103] for related data.) levels of government. Whereas commonwealth funding is largely restricted to support of activities, the states and These statistics omit the Australian Ballet School, territories fund not only activities but also infrastructure. Australia’s premier training institution for classical ballet In 2000–2001, for example, the commonwealth provid- dancers, starting with children rather than adult students. ed AU $95.9 million (U.S.$75.6 million) for the perform- The core of the curriculum is the Australian Ballet School ing arts, and state and territory governments provided AU Training Program, which was introduced formally into the $76.2 million (U.S.$60 million), but the latter also gave school in 1990 and has been the basis for training ever AU $93.5 million (U.S.$73.7 million) to performing arts since. The aim of the school is to produce graduates of centers compared with AU $5.5 million (U.S.$4.3 mil- the highest caliber who are capable of integrating effort- lion) from the commonwealth. lessly into the Australian Ballet and top professional dance companies in Australia and around the world.

PG 88 Making Changes The Training Program is composed of eight levels, begin- DANCE IN AUSTRALIA ning with students at age 10. The Junior Program incor- porates levels 1–3, the Median Program includes levels 4 and 5, and the Senior Program comprises levels 6–8. age, it was not until 1988 that a serious effort was made Students in the Senior Program also pursue the Australian to examine the specific problems of dancers’ transition. In Ballet School Advanced Diploma of Dance, an accredited that year, Actors Equity of Australia, in conjunction with tertiary qualification. This program offers students com- the Australian Association for Dance Education, instigat- prehensive dance training and a strong on-site academic ed the Dancers’ Transition Project, a research study that program. The first two years of the course focus on tech- led to a report published the following year (Beall, 1989). nical training and artistic development; students also The project addressed the need to provide support for pro- complete years 11 and 12 of their normal secondary fessional dancers at the end of their performing careers. school education. The third year of the course prepares At that time, no formal program existed in Australia to students for the dance profession by refining their dance assist dancers with career transition. The study recom- technique and developing professional skills through mended the establishment of a Dancers’ Transition career development activities and performances. Scheme and also highlighted the need for better preparation for transition to be incorporated in dance education Overall, the consistently high standards of dance training and training programs. in Australia have been a strong contributing factor in the interaction between Australian dancers and choreogra- The proposal for a formal transition scheme put forward phers and the international dance community. In the ear- in the 1989 report was never acted upon. Nevertheless, lier years, a number of well-trained dancers left Australia some progress was made in addressing the problem of to work overseas. During the 1980s and 1990s some of transition during the 1990s. For example, the critical these dancers—including Meryl Tankard, Leigh Warren, importance of health and safety issues, both in influenc- Simon Dow, and Maggie Sietsma—returned to Australia ing the progression of a performing career in dance and in and have been involved in the emergence of new compa- affecting the choices available to dancers for life after per- nies. forming, became better understood as a result of a major study of injury prevention and management, commis- THE PROBLEM OF TRANSITION sioned by Ausdance in association with Create Australia and published in 1990 (Geeves, 1990). That report was Several studies conducted in Australia over the past 20 followed by further reports in 1997 and 1999 (Geeves, years have raised awareness about career transition for 1997; Crookshanks, 1999). The 1999 report points to dancers. the progress made during the 1990s in dancers’ health and safety, as evidenced by a decrease in the prevalence Very little information existed about the working condi- of acute and chronic injuries, a better understanding of tions and career paths of dancers and choreographers in health and diet problems among dancers, and a more Australia during the early years of the development of supportive environment within companies. dance in the country. The establishment of the Dance Board as one of the first art-form boards to be created Another study on transition was undertaken in when the Australia Council was established in the early 1993–1994 by Barry White and Graham Guest for Arts 1970s focused some attention on dancers’ problems, but Training Western Australia (White and Guest, 1995). The it was not until the individual artists’ surveys of 1983 and study drew attention to the need to raise awareness of 1987 (followed by subsequent surveys in 1993 and transition problems among dancers and dance companies 2002) that systematic data began to be compiled and underlined the importance of incorporating work- enabling a comprehensive picture of the working lives of shops and other programs addressing career change dancers and other artists to emerge (see Individual Artists issues into dance education and training courses. The Inquiry, 1983; Throsby and Mills, 1987; Throsby and authors recommended various measures by which Thompson, 1994; Throsby and Hollister, 2003). dancers could be supported during the transition process, including assistance from companies, mentoring, coun- Although the early surveys drew attention to the fact that seling, and similar means. a performing career in dance ended at a relatively early

The aDvANCE Project PG 89 PART TWO: I

TRANSITION FACILITATION

Only the Australian Ballet has a specific program for dancers in career transition.

As a result of these reports and other discussions within the dance industry, a growing awareness has emerged in Australia of the significance of career transition problems for professional dancers. In an effort to do something practical to address this issue, in 1997 Ausdance commissioned Hilary Trotter to compile a resource kit for dancers (see Trotter, 1997). This manual brought together a number of articles about career transition and offered much relevant advice on how to cope with problems raised by the pressures of career change. The report has been a useful step in promoting the idea of self-help as one of the strategies dancers can use as they approach the transition stage.

The fact that transition problems are still of considerable concern to the dance profession in Australia is indicated by discussions at the regular dance summits held by the Australian Dance Council to review the state of dance and recommend strategies and priorities for action. At the 2001 summit, for example, the matter of career path- ways was identified as one of several national priorities (Nihas and Dyson, 2001, p. 8). It was pointed out that career paths in dance are more often meandering than lin- ear, highlighting the need for multi-skilling; these problems were seen as particularly important for the growing numbers of independent artists within the sector.

Some effort is made within educational programs in dance to acknowledge the problem of career transition as a serious matter that all dancers will eventually confront. The Australian Ballet School, for example, makes it clear that although it is not in a position to work with its students on later career transition management, it does provide the broadest education possible to each full-time student in an effort to build a solid foundation for future study or work opportunities.

Only one company, the Australian Ballet, has a formal scheme for assisting its dancers directly with transition. This scheme provides an exemplary case of best practice for dealing with career transition by an established dance ensemble. Details of the scheme are contained in Appendix A.

PG 90 Making Changes DATA FOR AUSTRALIA DANCE IN AUSTRALIA

Table 1: Performance indicators: major dance companies, 1997

Australian Queensland West Sydney Australian Bangarra Ballet Ballet Australian Dance Dance Dance Ballet Company Theatre Theatre

Total revenue ($'000) 21,772 2,460 1,911 4,566 1,609 990 Total expenditure ($'000) 21,049 2,500 1,954 4,392 1,659 921 Surplus (deficit) ($'000) 723 (40) (43) 174 (50) 69

Revenue sources (%) Box office 55 35 28 46 27 25 Sponsorship, donations 28 17 19 27 9 8 Government 17 48 53 27 64 67 Total 100 100 100 100 100 100

Expenditure categories (%) Production 32 15 17 26 21 n.a. Performance 27 43 45 17 38 n.a. Venue 22 23 16 29 19 n.a. Marketing 19 19 22 28 22 n.a. Total 100 100 100 100 100 n.a.

Paid attendance a ('000) 236 14 12 42 9 6 Attendance per performance (no.) 1,559 397 488 451 302 n.a.

Average ticket prices b ($ per seat) 46 33 34 39 18 n.a. Subsidy per seat ($ per seat) 29 103 114 30 117 n.a.

U.S. $1 = AU $1.27. Currency conversion: http://www.xe.com/ucc/ Notes:a. Capital city performances only. b. Home stage performances only. Source: Major Performing Arts Inquiry, 1999.

The aDvANCE Project PG 91 PART TWO: I

Table 2: Comparisons of financial performance of some “typical” dance companies ($'000 per year)

Major Major Small to Small classical contemporary medium sized company ballet dance company company without core company with core funding funding $'000 % $'000 % $'000 % $'000 % Revenue Box office 4,070 49 940 36 120 19 16 25 Sponsorship, donations 2,080 25 560 22 30 5 23 Government 2,110 26 1,090 42 480 76 46 72

Total revenue 8,260 100 2,590 100 630 100 64 100

Expenditure Performance and production 5,300 63 2,180 81 500 81 52 85

Marketing and administration 3,090 37 520 19 120 19 915

Total expenditure 8,390 100 2,700 100 620 100 61 100

Surplus (deficit) (130) (110) 10 3

No. of companies in sample 3 3 10 12

U.S. $1 = AU $1.27. Currency conversion: http://www.xe.com/ucc/

Sources: These data are indicative only for a “typical” or average company in each group; they are derived as approximate means for data assembled for a sample of companies in each group. The data for the major companies relate to 1997 and are compiled from the source listed for Table 1. The statistics for the smaller companies are based on data for 2001 presented in the Positive Solutions draft report (2003). These figures have not been adjusted for inflation. For further discussion, see text.

PG 92 Making Changes DANCE IN AUSTRALIA

Table 3: Music and theatre production industry income, 1999-2000 ($ million)

Number of organizations Box office income Government funding Fundraising income Other income Total income

Government subsidized Popular music production 12 0.1 0.8 0.1 0.3 1.4 Symphony and 29 25.2 51.4 7.1 10.7 94.4 choral production Dance production 21 14.1 15.2 5.2 7.5 42.1 Drama production 67 30.8 22.0 5.9 12.7 71.4 Opera production 7 np 16.9 np 2.5 58.3 Musical theatre production 14 np 1.8 1.1 np 16.7 Other performing arts 43 7.9 8.5 np np 23.5 production Total 193 120.4 116.7 29.8 40.9 307.8

Other Popular music production 239 22.8 --- 1.2 39.9 64.0 Symphony and 19 0.4 --- 0.4 1.3 2.1 choral production Dance production 17 0.5 ------1.1 1.5 Drama production 35 14.5 --- 0.2 4.2 18.9 Opera production 11 np --- np 1.2 1.3 Musical theatre production 62 np --- 1.5 np 81.0 Other performing arts 129 7.2 --- np np 28.9 production

Total 511 112.8 --- 4.0 80.8 197.6

Total Popular music production 251 22.9 0.8 1.2 40.3 65.3 Symphony and 48 25.5 51.4 7.5 12.0 96.5 choral production Dance production 37 14.6 15.2 5.2 8.6 43.6 Drama production 103 45.3 22.0 6.1 16.9 90.3 Opera production 18 np 16.9 np 3.8 59.6 Musical theatre production 76 np 1.8 2.5 np 97.7 Other performing arts 173 15.1 8.5 np np 52.5 production Total 705 233.1 116.7 33.9 121.7 505.4

U.S. $1 = AU $1.27. Currency conversion: http://www.xe.com/ucc/ Note: np = not available for publication but included in totals. Source: Australian Bureau of Statistics, 2000. PART TWO: I

Table 4: Music and theatre production: Performances and attendance, 1999-2000

Number of Paid Paid Persons per organizationsa performancesb attendance performance

no. no. '000 no. Popular music production 145 11,822 3,779 320 Symphony and choral 38 1,130 991.8 878 production Dance production 29 2,601 634.6 244 Drama production 85 11,749 2,533.4 216 Opera production 12 680 418.2 615 Musical theatre production 51 7,112 2,792.6 393 Other performing arts 112 11,988 2,119.1 177 production

Total 472 47,083 13,268.6 282

Note:a. Defined as organizations with prime responsibility for productions during 1999-2000. b. Of these paid performances, 1,120 were conducted at performing arts festivals. Source: Australian Bureau of Statistics, 2000.

Table 5: Numbers and gender distribution of dancers and other performing artists, 2001

Males Females Persons

Survey Data no. % no. % no. % Practicing, professional 337 27 913 73 1,250 100 dancers/choreographers

Census Data Dancers/choreographers 420 30 962 70 1,382 100 Private dance teachers 438 13 3,008 87 3,446 100 Actors 1,211 60 795 40 2,006 100 Private drama teachers 106 21 396 79 502 100 Musicians 6,396 71 2,610 29 9,006 100 Private music teachers 2,569 30 5,875 70 8,444 100

Sources: Survey data: Throsby and Hollister (2003). Census data: Australian Bureau of Statistics, 2001b.

PG 94 Making Changes DANCE IN AUSTRALIA

Table 6: Age distribution of dancers/choreographers

Age range Practicing professionals Census data

Years %%

15-24 24 45 25-34 49 34 35-44 23 12 45-54 37 55+ 12

Mean age (years) 31 28 Median age (years) 29 26

Source : Throsby and Hollister, 2003.

Table 7: Training undertaken by dancers Types of training Ever undertaken a Most important

%% Formal training 94 67 Private training 50 10 Self-taught 19 3 Learning on the job 47 20 Other training 45 -

Total - 100

Note: a. Multiple responses permitted. Source: Throsby and Hollister, 2003.

The aDvANCE Project PG 95 PART TWO: I

Table 8: Most important factors advancing and inhibiting dancers’ career development Throughout career At present %% Factors advancing career Talent 17 10 Training 40 27 Critical timing 6 20 Support and encouragement 36 33 Other 1 10 Total 100 100

Factors inhibiting career Economic factors 86 66 Time constraints 3 20 Access difficulties 3 7 Personal issues 3 3 Other 5 4 Total 100 100

Source: Throsby and Hollister, 2003.

Table 9: Average allocation of dancers’ working time Proportion of time Hours per week over 2000-2001 at present hours % Creative work 55 21 Other arts-related work 33 12 All arts work 88 33 Non-arts work 12 6 Total 100 39

Source: Throsby and Hollister, 2003.

PG 96 Making Changes DANCE IN AUSTRALIA

Table 10: Dancers’ mean and median earned incomes, 2000-2001 Mean Median $ per annum $ per annum

Creative income 16,700 12,900 Other arts-related income 7,100 - Total arts income 23,900 23,600 Total non-arts income 3,000 - Total income 26,900 26,000 U.S. $1 = AU $1.27. Currency conversion: http://www.xe.com/ucc/ Source: Throsby and Hollister, 2003.

Table 11: Industry employing dancers/choreographers and private dance teachers Dancers/choreographers Private dance teachers Industry 1996 2001 Annual 1996 2001 Annual Census Census change Census Census change no. no. % no. no. % Motion picture exhibition 5 27 40.1 --- 3 --- Music and theater productions 321 190 -10.0 20 29 7.7 Creative arts 31 24 -5.0 5 3 -9.7 Services to the arts 58 29 -12.9 10 11 1.9 Other cultural industries 11 91 52.6 11 15 6.4

Total cultural industries 426 361 -3.3 46 61 5.8 Other industries 602 1,025 11.2 2,713 3,386 4.5

All industries 1,028 1,386 6.2 2,759 3,447 4.6

Source: Australian Bureau of Statistics, 1996b, 2001b.

The aDvANCE Project PG 97 PART TWO: I

Table 12: Attendance at selected venues and activities, 1995 and 1999 1995 1999 Venue/activity Persons Attendance Persons Attendance rate a rate a '000 % '000 % Cinema 8,733.8 62.1 9,987.6 67.0 Library 5,403.1 38.4 5,684.1 38.1 Botanic gardens 5,410.5 38.5 5,379.8 36.1 Animal or marine park 4,966.0 35.3 5,048.5 33.9 Popular music 3,790.7 26.9 3,781.8 25.4 Art gallery 3,134.1 22.3 3,159.7 21.2 Museum 3,905.6 27.8 2,975.4 19.9 Other performing arts 2,634.4 18.7 2,648.0 17.8 Theater 2,336.3 16.6 2,464.9 16.5 Opera or musical 2,722.1 19.3 2,430.4 16.3 Dance 1,407.5 10.0 1,345.0 9.0 Classical music 1,081.3 7.7 1,310.3 8.8

All selected venues/activities 11,670.0 82.9 12,615.8 84.6

Note: a. Expressed as a percentage of the adult population. Source: Australian Bureau of Statistics, 1999.

Table 13: Persons attending dance performances, by age group, 1995 and 1999 Age group Attendance Attendance rates a 1995 1999 1995 1999 Years '000 '000 % % 15-17 97.7 104.7 12.5 12.7 18-24 212.6 137.8 11.1 7.5 25-34 278.4 267.6 9.9 9.4 35-44 318.9 311.5 11.0 10.7 45-54 253.7 270.1 11.5 10.7 55-64 121.4 134.8 8.1 8.1 65+ 124.8 118.5 5.8 5.1

Total 1,407.5 1,345.0 10.0 9.0

Note: a. Expressed as a percentage of the population in that age group. Source: Australian Bureau of Statistics, 1999.

PG 98 Making Changes DANCE IN AUSTRALIA

Table 14: Attendance rates* at performing arts venues by educational attainment, 1999 Educational attainment Popular Classical Theatre Dance Opera music music or musical %%%%% Higher degree 33.6 27.9 41.4 18.2 37.2 Postgraduate diploma 40.3 22.5 44.3 21.2 35.2 Bachelor degree 38.7 20.7 34.6 14.6 30.2 Undergraduate diploma 33.9 13.5 26.7 12.4 24.5 Associate diploma 33.0 11.3 21.8 7.2 17.6 Skilled vocational 25.5 5.0 11.1 6.3 11.1 qualifications Basic vocational 27.4 7.6 16.3 10.4 16.8 qualifications No qualifications 25.4 6.3 12.6 8.1 13.9 Still in school 36.5 6.0 28.5 13.9 16.6 Total 25.4 8.8 16.5 9.0 16.3

* Expressed as a percentage of population in that educational category. Source: Australian Bureau of Statistics, 1999.

The aDvANCE Project PG 99 PART TWO: I

Table 15: Arts and related funding, commonwealth and state/territory governments

1998-1999 2000-2001 Commonwealth State/territoryTotal Commonwealth State/territory Total

$m $m $m $m $m $m AGGREGATE Literature and print media 10.9 4.3 15.2 22.0 4.3 26.3 Performing arts: Music 49.6 14.2 63.8 54.9 17.8 72.7 Drama 11.6 20.3 31.9 10.8 26.0 36.8 Dance 8.8 9.8 18.6 10.8 10.2 21.0 Music theater and opera 8.6 11.4 20.0 14.3 9.3 23.6 Other performing arts 6.2 18.2 24.4 5.1 12.9 18.0 Total performing arts 84.8 74.1 158.9 95.9 76.2 172.1 Performing arts venues 1.4 113.8 115.2 5.5 93.5 99.0

$/head $/head $/head $/head $/head $/head PER CAPITA Literature and print media 0.58 0.23 0.81 1.14 0.22 1.36 Performing arts: Music 2.64 0.76 3.40 2.85 0.92 3.77 Drama 0.62 1.08 1.70 0.56 1.35 1.91 Dance 0.46 0.52 0.98 0.56 0.53 1.09 Music theater and opera 0.46 0.60 1.06 0.74 0.48 1.22 Other performing arts 0.33 0.97 1.30 0.26 0.67 0.93 Total performing arts 4.50 3.93 8.43 4.98 3.95 8.93 Performing arts venues 0.07 6.04 6.11 0.28 4.85 5.13

U.S. $1 = AU $1.27. Currency conversion: http://www.xe.com/ucc/ Source: Australian Bureau of Statistics, 2001c.

PG 100 Making Changes DANCE IN AUSTRALIA

Table 16: National annual funding of dance, 1998 to 2002 Year Australia States and DCITA/Playing Total Council territories Australia $'000 $'000 $'000 $'000 1998 8,379 8,573 664 17,616 1999 8,709 8,871 695 18,275 2000 9,676 9,313 644 19,633 2001 11,118 10,663 790 22,571 2002 11,521 11,265 893 23,679

U.S. $1 = AU $1.27. Currency conversion: http://www.xe.com/ucc/ Source: Positive Solutions, 2003.

The aDvANCE Project PG 101 PART TWO: I Table 17: Students studying dance in higher education establishments, 1992-2002 02-8 19 7 8-437 358 - - 564 497 465 58 - 494 55 335 424 16 347 15 178 148 28 56 368 42 50 52 349 - - 46 46 41 153 35 53 40 128 46 105 34 94 131 77 97 95 27 110 98 23 107 90 86 72 21 97 - 91 - 87 95 - 67 100 - - 78 95 107 - - 76 93 65 80 86 77 - 64 67 78 80 - 2 - 67 70 4 - 16 - 56 - 28 - 73 - 2002 - 58 - 2001 - 1 2000 19 3 1999 47 3 1998 47 1 1997 2 1996 3 1995 2 1994 1993 1992 erND NWUSUSU Q U C UA ECU QUT CQU UM UWS UTS UNSW NIDA Year W:Uiest fWsenSde UA: The University of Adelaide ECU: Edith Cowan University, Western Australia QUT: Queensland University of Technology CQU: Central Queensland University UM: The University of Melbourne UWS: University of Western Sydney UTS: University of Technology, Sydney UNSW: The University of New South Wales NIDA: National Institute of Dramatic Art Key: 2001-2002: EFTSU for students in 100,105 (dance) education field of (FOE). 1992-2000: Equivalent full-time student units (EFTSU) in 030404 (dance) education field of study (FOS). Notes: Source: Department of Education, Science and Training, University Statistics. Total Australia

PG 102 Making Changes DANCE IN AUSTRALIA

Table 18: Number of arts-related university courses by level, 2000 Institutions Number of courses a providing courses Field of study Higher Bachelor Other Total Visual and performing arts 24 54 55 6 115 Conservation of art and cultural 6102214 material Craft 5 3 11 1 15 Dance 7 8 10 2 20 Dramatic arts 17 16 37 3 56 Film and photographic arts 12 31 26 4 61 Fine arts 22 84 89 15 188 Graphic arts and design 18 26 50 4 80 Music 26 121 159 32 312 Other arts 17 30 25 1 56

Total 40 383 464 70 917

Note: a. Each level has been counted as a separate course. For example, a fine arts masters degree by course work and a fine arts masters by research have been counted as two separate courses. Source: Department of Education, Science and Training, Higher Education Student Data Collection, 2000 (table reproduced from Australia Council, Some Australian Arts Statistics [2003]).

The aDvANCE Project PG 103 Currency: PART TWO: I 1 Australian dollar ($A) = 100 cents Exchange rates: U.S. $1 = AU $1.27. DEMOGRAPHICS FOR AUSTRALIA Currency conversion: http://www.xe.com/ucc/

Unless otherwise noted, information is from http://www.kmike.com/country/asdemog.htm Accessed September 5, 2003 ACKNOWLEDGMENTS

Population: Much of the statistical material for this report was com- 19,731,984 (July 2003 estimate. Source: U.S. Central piled by Hans Hoegh Guldberg (Economic Strategies), Intelligence Agency, The World Factbook, available at with additional material provided by Shane Carroll (chair, http://www.cia.gov). Dance Board, Australia Council), Julie Dyson (Ausdance), and Geoff Kerins (Australian Ballet). Some data were also Sex ratio: derived from a report for the Dance Board of the Australia At birth: 1.06 male(s)/female Council prepared by Positive Solutions; I am grateful to Under 15 years: 1.05 male(s)/female David Fishel for his cooperation in allowing me access to 15–64 years: 1.02 male(s)/female this report. Further data were also taken from the 2001- 65 years and over: 0.77 male(s)/female (1998 est.) 2002 Individual Artists’ Survey conducted by myself and Virginia Hollister (Don’t Give Up Your Day Job: An Geography—note: Economic Study of Professional Artists in Australia. World’s smallest continent but sixth-largest country; pop- Sydney: Australia Council, 2003). ulation concentrated along the eastern and southeastern coasts; regular, tropical, invigorating, sea breeze known In expressing my gratitude to these people, I make it clear as “the Doctor” occurs along the west coast in the sum- that the views expressed in this report are my own and do mer not necessarily reflect those of any other organization or individual. Country name: Conventional long form: Commonwealth of Australia —David Throsby Conventional short form: Australia Macquarie University August 2003 Data code: AS

Government type: Democratic, federal-state system recognizing the British monarch as sovereign

National capital: Canberra

Administrative divisions: Six states and two territories*; Australian Capital Territory*, New South Wales, Northern Territory*, Queensland, South Australia, Tasmania, Victoria, Western Australia

GDP—per capita: Purchasing power parity—$21,400 (1997 est.)

PG 104 Making Changes SOURCES DANCE IN AUSTRALIA Australian Bureau of Statistics (ABS) (1996a, 2001a), Census of the Population of Australia, Canberra, ABS. Throsby, David, and Hollister, Virginia (2003), Don’t Give up Your Day Job: An Economic Study of Professional Australian Bureau of Statistics (1996b, 2001b), Artists in Australia, Sydney: Australia Council. Employment in Selected Culture/Leisure Occupations (cat. 6273.0). Throsby, David, and Mills, Devon (1987), When Are You Going to Get a Real Job? Sydney: Australia Council. Australian Bureau of Statistics (1999), Attendance at Selected Cultural Venues (cat. 4114.0). Throsby, David, and Thompson, Beverly (1994), But What Do You Do for a Living? A New Economic Study of Australian Bureau of Statistics (2000), Performing Arts Australian Artists, Sydney: Australia Council. Industries 1999–2000 (cat. 8697.0). Trotter, Hilary (ed.) (1997), New Moves: A Career Australian Bureau of Statistics (2001c), Cultural Funding Development Manual for Dancers, Sydney: Ausdance, by Government 2000-01 (cat. 4183.0). New South Wales (NSW).

Beall, Catherine (1989), Dancers’ Transition: A Report White, Barry, and Guest, Graham (1995), A Report on Investigating the Needs of Professional Dancers Making the Career Options for Dancers Project, Northbridge, Career Transition, Sydney and Canberra: Media, Western Australia (WA): Arts Training WA. Entertainment and Arts Alliance (MEAA) and Ausdance.

Crookshanks, Debra (1999), Safedance III: A Report on the Occurrence of Injury in the Australian Professional Dance Population, Canberra: Ausdance.

Geeves, Tony (1990), Safe Dance Project Report: A Report on Dance Injury Prevention and Management in Australia, Canberra: Ausdance.

Geeves, Tony (1997), Safe Dance Report II: National Injury and Lifestyle Survey of Australian Adolescents in Pre-professional Dance Training, Canberra: Ausdance.

Individual Artists Inquiry (1983), The Artist in Australia Today, Sydney: Australia Council.

Major Performing Arts Inquiry (1999), Securing the Future: Final Report, Canberra: Department of Communications, Information Technology and the Arts (DOCITA).

Nihas, Vasiliki, and Dyson, Julie (eds.) (2001), Australian Dance Summits 2001, Canberra: Ausdance.

Positive Solutions (2003), Analysis of the Dance Sector, Report to Dance Board, Sydney: Australia Council.

The aDvANCE Project PG 105 the Canada Council for the Arts.3 All professional nonprofit dance companies—including ballet, contemporary dance, Aboriginal dance, South Asian dance, jazz, flamenco, and other forms—are eligible for support from Part Two: II the council.4 The main centers for dance activity in Canada are Montréal, Toronto, and Vancouver.

DANCE Between 1991 and 2001, “dancer” was one of the fastest-growing occupation categories in the arts (a 67 percent increase compared with 30 percent overall for IN artists and only 9.5 percent for the Canadian labor force as a whole). Census data in 2001 put the number of CANADA dancers in Canada at 6,405. This figure also includes individuals whose main occupation was dance teacher, some of whom may be dancers as well. Census data indicate that approximately 70 percent of those in the “dancer” occupation category work in the education sector. (Note: This is much higher than reported in previous census figures, where the number was closer to 30 percent. This is likely the result of an improvement in how individuals are classified rather than an actual trend.) n 1980, The Art of Partnering Dance: A Federal Pas The number of individuals working primarily as dancers 5 de Deux, a report prepared by the Dance Section of is therefore estimated at about 2,000. Data from I the Canada Council for the Arts, provided a portrait 1998–1999 concerning 58 of the 90 dance companies of professional dance in Canada. At that time, the coun- funded by the Canada Council indicate that about 1,000 cil was funding 17 professional dance companies and dancers and other performing artists were employed by three professional dance schools, while providing funding or on contract with dance companies, about two-thirds of 6 for dance touring (primarily for the three major ballet that number with the nine largest dance companies. companies), a few individual choreographers and dancers, two service organizations, and a few small In recent years, the Canadian dance community has dance projects. In 1980, the council’s funding for dance gained international recognition in the U.S., Europe, totaled approximately CA$7 million (U.S.$5.3 million).2 Asia, and elsewhere. About 17 percent of dance compa- 7 The emphasis at that time was almost exclusively on bal- nies’ earned revenue comes from tours abroad. In addi- let and modern dance. tion, a growing number of independent choreographers and dancers—now totaling around 160—stage perform- DANCE-SECTOR GROWTH ances in Canada and abroad every year. Among this group, Margie Gillis, Marie Chouinard, Ginette Laurin, In the 1990s, the number of dance companies in Canada LaLaLA Human Steps, and Holy Body Tattoo embody a grew by 48 percent, and the number of dancers grew by uniquely Canadian approach to dance.

67 percent. 3 The number of dance company applicants to the Canada Council for the Arts stood at 156 in 2002–2003. The number of dance companies surveyed by Statistics Canada in 2000–2001 in its census survey was 83. The Statistics Canada survey In the 1990s, the largest increases in the dance sector clearly does not cover the entire universe of dance companies; however, it is the best available source of trend, financial, and activity data. were seen in small and mid-sized companies. There are 4 For-profit dance and dance not considered professional also exist in Canada but are now about 160 professional dance companies, collec- not included here. 5 According to the Canadian Dancer Transition Resource Centre, the Statistics tives, and groups in Canada, 97 of which are funded by Canada definition is very broad and includes dance instructors and teachers as well as many dancers who, under the Canadian Artists’ Code, might not be classified as professional dancers. (Source: The Canadian Advisory Committee on the Status of the Artist, August 1988.) 2 Currency conversion: CA$1 = U.S.$0.760203, accessed 10/16/03 6 Special data tabulation for 1998–1999 from Statistics Canada’s Performing Arts http://www.xe.com/ucc/ Survey only on companies funded by the Canada Council. 7 Data are from Statistics Canada Survey of Performing Arts Companies, 2000–2001.

The aDvANCE Project PG 107 Public-sector funding for dance companies in 2000-2001 PART TWO: II was estimated at CA$26 million (U.S.$20 million), with CA$12 million (U.S.$9 million) coming from federal DANCER ATTRIBUTES sources, CA$10 million (U.S.$8 million) from provincial sources, and CA$3 million (U.S.$2 million) from munici- Eighty-four percent of dancers are female, and 9.8 per- pal sources. Private funding to dance companies in the cent are visible minorities. More than 37 percent of same year was about half the amount of public funding, dancers in Canada are under age 25, compared with 16 totaling CA$14 million (U.S.$10.4 million). In 2000- percent for the labor force as a whole. 2001, the three levels of government in Canada (federal, provincial/territorial, and municipal) provided a total of The Canada Council for the Arts defines a professional CA$6.7 billion (U.S.$5.1 billion) to the arts and culture artist (including a dancer) as someone who has special- in Canada. The three levels of government together pro- ized training in the field (not necessarily from academic vided CA$333 million (U.S.$253.2 million), or 5 percent institutions), who is recognized as such by her or his of public funding to arts and culture, to the performing peers (artists working in the same artistic tradition), who arts. Dance makes up an estimated 16-20 percent of is committed to devoting more time to the artistic activity public funding to the performing arts, or less than one if financially feasible, and who has a history of public percent of all public funding to the arts and culture. presentation. In 2001, the federal government announced an increase Among artists (who as a group already have low in funding for arts and culture of more than CA$500 mil- incomes), dancers have the lowest average income. lion (U.S.$380.1 million) over three years. With federal Dancers’ average employment income, whether working government funding to the arts and culture totaling almost full-time or part-time, stood at CA$14,600 CA$3 billion (U.S.$2.3 billion) per year, this was a signif- (U.S.$11,100) in 2001. This is less than half the labor icant increase. Beginning in 2000, funding to the Canada force average of CA$31,800 (U.S.$24,200). For the rel- Council was augmented by CA$25 million (U.S.$19 mil- atively small number of dancers working full-time lion) per year for three years. Not until 2001-2002, did throughout the year, their average income was still sub- this increase have an impact on dance, with an addition- stantially below the labor force average—the average al CA$2 million (U.S.$1.5 million) added, to bring dance income of dancers working 40 hours per week was funding from CA$12.9 million (U.S.$9.8 million) in CA$24,100 (U.S.$18,300), compared with CA$36,000 2000–2001 to CA$14.9 million (U.S.$11.3 million) in (U.S.$27,400) for all workers in the labor force working 2001–2002 and to CA$16.2 million (U.S.$12.3 million) 40 hours per week. Under these circumstances, a dancer in 2002–2003.8 New funding is also available for dance contributes less, and therefore gets less out of, any earn- through three new programs at the federal Department of ings-related pension scheme. In addition, at such low lev- Canadian Heritage: Arts Presentation Canada, the els of income, the possibility of accumulating savings for Canadian Arts and Heritage Sustainability Program, and retirement or for health care costs is very limited. Cultural Spaces Canada. Unlike many other provinces, funding for the arts by the government of Québec also INCOME FOR DANCERS increased over the past decade.

Dancers are the most poorly paid artists; average employ- The Canada Council for the Arts is the main national body ment income for dancers in 2001 was CA$14,600 (U.S. providing public funding for dance in Canada. Dance cur- $11,100). rently accounts for 12.5 percent of Canada Council funding to the arts. Grants to dance totaled CA$16.2 million FINANCING

8 For the fiscal year 2002–2003, The Canada Council awarded 143 grants to 112 In 2000–2001, public-sector funding for dance made up dance companies in the following categories: Creation/Production in Dance Program; Dance Touring Grants; International Co-production Program for Dance; Production 40 percent of all revenues, whereas private funding Project Grants for Dance Collectives and Companies Support to Aboriginal Peoples accounted for 21 percent and earned revenues accounted Dance Organizations and Collectives. It also awarded 68 grants to individuals in the categories of Grants to Emerging/Mid-Career Dance Professionals; Grants to for 39 percent of revenues. Established Dance Professionals; and Grants to Aboriginal Dance Professionals. It also awarded two Senior Fellowships to dance professionals. (Source: http://www.canadacouncil.ca/ accessed May 11, 2004.)

PG 108 Making Changes (U.S.$12.3 million) in 2002–2003, whereas total DANCE IN CANADA Canada Council funding to the arts was CA$129.4 million (U.S.$98.4 million). Another survey dealing with participation of the Canadian One of the noteworthy features of dance funding by the population age 15 and over found that in 1998, 6.8 per- Canada Council remains the relative importance of the cent of the population attended at least one dance event support of the country’s three largest dance companies per year.10 Dance in this survey included performances of (the National Ballet of Canada, the Royal Winnipeg ballet and contemporary dance by professional artists. Ballet, and Grands Ballets Canadiens). Funding to these This 6.8 percent translates into 1.7 million Canadians three companies equaled 40 percent of total funding in age 15 and over (24.3 million Canadians were age 15 the 1980s and about a quarter of all dance funding in and over in 1998). The percentage attending increased 2002–2003. Although funding to these companies has from 4.9 percent to 6.8 percent between 1992 and been frozen over the past decade, a growing number of 1998. Participation rates for most of the performing arts other dance companies have sought new funding or fund- declined over that period. ing increases from the council. EDUCATION DANCE ORIENTATION Because training normally starts at a young age, only one- Sixty-four percent of dance companies funded by Canada fifth of dancers are university trained; most are trained in Council in 2002–2003 were modern/contemporary; sev- dance schools. enty-four percent of Canada Council individual grants in 2001–2003 were awarded to modern dancers. Along with growth in the number of dance companies and dancers, dance education and training have also expand- AUDIENCE ed. University programs in dance are offered at York University, the University of Calgary (in partnership with Whereas audiences for most of the performing arts have the Alberta Ballet Company), Université de Québec à declined in recent years, the percentage of Canadians Montréal, Simon Fraser University (British Columbia), who attend dance has remained relatively stable. Concordia University (Montréal), and the Banff Centre (Alberta). The major dance training institution in Canada Over the past decade in Canada significant shifts have is the National Ballet School, which has been in existence occurred in arts audiences and arts attendance, with for more than 40 years and accommodates approximate- audiences shrinking in areas such as orchestral music and ly 150 students on a full-time basis. Other dance training theatre. Dance, however, has fared relatively well. institutions include the Royal Winnipeg Ballet School, Attendance (i.e., number of tickets sold) declined three which was founded in 1970 and accommodates about percent between 1991–1992 and 1998–1999, com- 60 students, L’École nationale de ballet contemporain, pared with much steeper drops of 9 percent and 11 per- the School of Contemporary Dance in Winnipeg, and the cent for music and opera, respectively. In 1998–1999, School of Toronto Dance Theatre. In addition, there are 92 nonprofit dance companies in Canada sold modern dance schools associated with modern dance 1,463,806 tickets to 3,080 dance performances.9 The choreographers. The National Arts Training Contribution number of tickets dance companies sold in 2000–2001 Program at the Department of Canadian Heritage provides fell to 1,230,019, the number of performances dropped funding for these professional arts training institutions as to 2,457, and the number of companies in the survey well as for Aboriginal and culturally diverse art communi- declined to 83. This is not, therefore, a real drop in atten- ties. dance, since fewer companies were recorded in the survey. A 1995 study, Dancer Transition Resource Centre: Tenth Year Follow-up Research Report (Bristor & Associates,

10 Statistics Canada, General Social Survey Culture Supplement (see Patterns in Culture Consumption and Participation prepared by Statistics Canada for the Canada 9 Statistics Canada, Survey of Performing Arts Companies, 1998–1999. Council and the Department of Canadian Heritage).

The aDvANCE Project PG 109 interprètes en danse en transition de carrière, focuses PART TWO: II specifically on career transition for dancers in Quebec, but was not provided in time for this report. See Section IV for 1996) surveyed a total of 289 dancers, of whom 97 were additional information about Canada’s Dancer Transition members of the Dancer Transition Resource Centre, of Resource Centre. whom 32 percent had university degrees and an additional five percent had post-graduate degrees; 162 were non- members, of whom 15 percent had university degrees and an additional two percent had post-graduate degrees.

TRANSITION FACILITATION

Canada offers one of the world’s four formal centers for career transition: the Dancer Transition Resource Centre (DTRC).

The mandate of Canada’s Dancer Transition Resource Centre (DTRC) is to help dancers make necessary transitions into, within, and from professional performing careers. The DTRC was founded in 1985, following a year-long research project initiated by Joysanne Sidimus, former principal dancer with the National Ballet of Canada and the center’s executive director since its inception. The DTRC operates on a membership basis and offers grants as well as academic, career, financial, legal, and personal counseling to its constituents.11 It also operates as a resource center for the dance community and the general public, providing seminars, educational material, networking and information, as well as supporting activities that enhance the socio-economic conditions of artists.

Through the National Arts Training Contribution Program, funded by the Canadian Department of Heritage, DTRC administers a number of retraining and subsistence grant programs for members who are either developing parallel careers while still performing or who are planning to stop dancing. Further assistance is also available through special awards, which are generously funded by the private sector. Since its inception, more than 350 grants have been awarded for study in fields related to health, arts, dance academic studies an other areas from carpentry to spiritual development.12

A report released in May 2004 by the Regroupment québécois de la danse, entitled Étude sur les besoins des

11 Dancer Transition Resource Centre website: http://www.dtrc.ca. Accessed June 5, 2003. 12 Dancer Transition Resource Centre website: http://www.dtrc.ca. Accessed May 12 2004.

PG 110 Making Changes DATA FOR CANADA DANCE IN CANADA

Information About Dance Companies Number of Dance Companies in Canada in 2002-2003 by Genre Applied Funded Aboriginal dance 20 13 African dance 4 1 Afro-Caribbean 1 0 Ballet 7 7 Contemporary 89 62 Dance theatre 5 2 East Asian 2 1 Experimental 2 1 Flamenco 3 2 Folkloric 6 1 Hip-Hop 1 1 Jazz 2 1 Lebanese folk dance 1 0 South Asian 6 2 Tap 3 0 Youth 2 2 Other 2 1 Total 156 97 Source: Canada Council for the Arts

Number of Dance Companies in Canada by Size 1990-1991 1994-1995 2000-2001 Small 32 40 45 Medium 12 19 26 Large 10 12 12 Total 54 71 83 Source: Statistics Canada, Survey of Performing Arts Companies.13

13 The Survey of Performing Arts Companies conducted by Statistics Canada is conducted biennially. According to this survey, there were only 83 professional not-for- profit dance companies in Canada in 2000-2001. However, as shown above, in 2001-2002 the Canada Council received applications for funding from 156 dance companies and collectives, funding 97. Statistics Canada data do not break down the number of dance companies by dance type (ballet, modern, etc.). Note also that Statistics Canada excludes commercial companies, schools, festivals, and presenters. Source: http://www.statcan.ca

The aDvANCE Project PG 111 “Includes dancers and dance teachers. Dancers are PART TWO: II employed by ballet and dance companies, television and film productions and nightclubs and similar NUMBER OF DANCE COMPANIES IN CANADA establishments. Dance teachers are employed by ACCORDING TO OTHER SOURCES dance academies and dance schools. Job titles that would be classified under this occupation category www.balletcompanies.com: include: Ballet Dancer, Ballet Teacher, Ballroom 92 Ballet and dance companies in Canada Dancing Teacher, Dancer Instructor, Dancer, Folkloric Dancer, Interpretive Dancer and Tap Dancer.” Regroupement québecois de la danse: 50 dance companies as members Note that choreographers are included under another occupation category (called producers, directors, chore- Dance Umbrella of Ontario: ographers, and related occupations). 44 professional dance companies as members A more recent study completed by the Tax and Policy Dance Center in British Columbia: Services Group of Ernst & Young in Fall 2002 reported 30 professional dance companies as members that a total of 1,370 dancers and other artistic personnel are engaged by 92 companies either on contract engagements or as employees.15 INFORMATION ABOUT DANCERS

How many dancers are there in Canada? According to Statistics Canada, the dancer occupation category in the 2001 Canadian census totaled 6,40514 and is defined as:

Growth in Labor Force by Occupation Category 1991-1996 Major Occupation Category 1991 1996 % Change All occupations 14,220,235 15,576,545 +9.5% Art, culture, recreation, and sport 337,355 435,680 +29.1% Dancers 3,835 6,405 +67.0% All artists 98,355 127,905 +30.0%

Source: Statistics Canada Census Data

14 For comparison, the total Canadian labor force the same year was 14,317,545. Source: http://www.statcan.ca 15 Impacts of a Change in Employment Status of Performing Artists on Organizations in the Arts and Culture Sector, a report for the Department of Canadian Heritage by the Tax Policy Services Group of Ernest & Young, Fall 2002.

PG 112 Making Changes NUMBER OF DANCERS BY DANCE TYPE DANCE IN CANADA The chart shows the number of Canada Council individual dance grant applicants by genre in 2002–2003. Note that the table counts individuals, not grants awarded, as some individual applicants may receive more than one grant.

Canada Council Individual Grant Applicants 2002-2003 By Genre Genre Applied Funded Aboriginal peoples 3 2 Aerial dance 2 1 African 5 1 Afro-Caribbean 2 1 Butoh 2 2 Classical (ballet) 19 9 Contemporary 169 84 Dance theatre 6 3 Dance video/technology 9 4 East Asian 3 0 Experimental 7 4 Flamenco 8 3 Folkloric 3 1 Hip-Hop 5 5 Jazz 3 1 Lebanese folk dance 1 0 Middle Eastern dance 1 0 Modern dance 1 0 Other (general) 32 14 South Asian 12 5 Tap 21 Youth 20 Total 297 141

Source: Canada Council for the Arts

Number of dancers by sex Number of dancers by employment status Total number of dancers in 2001: 6,405 Of the 1,370 dancers working for dance companies as Female: 5,405, or 84 percent reported by the Tax and Policy Services Group of Ernst & Male: 1,000, or 16 percent Young in fall 2002, about 7 5 percent are on contract Source: Statistics Canada Census Data. engagements, and the remaining 25 percent are employees.17 Number of dancers by race Total number of dancers in 2001: 6,405 16 Visible minority is defined as per the Employment Equity Act to include the follow- 16 Visible minority dancers: 628, or 9.8 percent ing groups: Chinese, South Asian, Black, Arab/West Asian, Filipino, Southeast Asian, Source: Statistics Canada Census Data. Latin American, Japanese, Korean, and Pacific Islander. (Note: the visible minority population made up 13.4 percent of the general population in 2001.) Source: Statistics Canada Census Data. 17 Impacts of a Change in Employment Status of Performing Artists on Organizations in the Arts and Culture Sector, a report for the Department of Canadian Heritage by the Tax Policy Services Group of Ernest & Young, Fall 2002.

The aDvANCE Project PG 113 PART TWO: II

Average Employment Income of Artists by Occupation, 2001 Occupation Average Employment Average Employment Income, All Workers Income, Individuals Working 30-39 Hours/Week Writers CA$31,911 CA$36,084 (U.S.$24,161) (U.S.$27,320) Producers, directors, choreographers, and CA$43,111 CA$38,058 related occupations (U.S.$32,637) (U.S.$28,812) Conductors, composers, and arrangers CA$27,381 CA$20,529 (U.S.$20,729) (U.S.$15,541) Musicians and singers CA$16,090 CA$20,932 (U.S.$12,180) (U.S.$15,846) Dancers CA$14,587 CA$22,143 (U.S.$11,043) (U.S.$16,762) Actors CA$21,597 CA$29,777 (U.S.$16,349) (U.S.$22,541) Other performers CA$18,156 CA$20,973 (U.S.$13,744) (U.S.$15,876) Painters, sculptors, and other visual artists CA$18,666 CA$17,361 (U.S.$14,129) (U.S.$13,142) Artisans and craftspersons CA$15,533 CA$16,377 (U.S.$11,758) (U.S.$12,396) Total-labor force CA$31,757 CA$31,232 (U.S.$24,037) (U.S.$23,639)

Source: Statistics Canada, 2001 Census, special data tabulations.

PG 114 Making Changes DEMOGRAPHICS FOR CANADA DANCE IN CANADA Population: 19,731,984 (July 2003 est.) Cost of Living (COL) Index A basket of goods and services that costs U.S.$100 in the Source: U.S. Central Intelligence Agency, The World United States would cost $105 in Canada. Factbook, available at http://www.cia.gov. Canada COL Index = 105

All Earners, 2001 Source: www.expatforum.com/Resources/icol.htm Women: CA$24,700 U.S.$ 18,500 Accessed May 29, 2003 Men: CA$38,400 U.S.$ 28,800

Full-year, full-time workers, 2001 Women: CA$35,300 U.S.$26,500 Men: CA$49,300 U.S.$37,000 Source: http://www.statcan.ca/english/Pgdb/labor01a.htm

Performing Arts Attendance 1998: Dance performance: 1,658,000, or 6.8% of the population Men: 685,000, or 5.7% Women: 973,000, or 7.9% Source: www.statcan.ca/english/Pgdb/arts08a.htm

Federal general government revenues and expenditures 1997-1998 1999-2000 2001-2002 Total expenditures *160,672 *173,042 *181,910 Recreation & culture *2,796 *3,044 *3,238 % of total budget spent on recreation & culture 1.7 1.8 1.8 *CA$ millions 18 Source: www.statcan.ca/english/PGDB/govt02b.htm

18 Currency conversion: CA$1 = U.S.$0.760203, http://www.xe.com/ucc/ accessed 10/16/03

The aDvANCE Project PG 115 Patterns in Culture Consumption and Participation, PART TWO: II report prepared by Statistics Canada for the Canada Council for the Arts and the Department of Canadian SOURCES Heritage, 2000.

The Art of Partnering Dance: A Federal Pas de Deux, Performing Arts Survey, 1998–99, Culture Statistics Books I, II, and III and Summary, Prepared by the Dance Program, Culture, Tourism and the Centre for Education Section of the Canada Council, December 1980. Statistics, Statistics Canada, 2001.

Artists in the Labor Force, Planning and Research Performing Arts Survey, 2000–2001, Culture Statistics Section, Canada Council for the Arts, 1999. Program, Culture, Tourism and the Centre for Education Statistics, Statistics Canada, 2003. Arts and Heritage Participation, report prepared by Environics for Canadian Heritage, 2001. Québec Study of Dancers / Etude sur la Situation des Interprètes en Danse, Regroupement québecois de la The Canadian Artists’ Code: A proposed Act on the pro- danse, Dance Umbrella of Ontario, and Canadian fessional status of the artist, The Canadian Advisory Association of Professional Dance Organizations, October Committee on the Status of the Artist, August 1988. 2002.

Dance at Risk/La danse en péril, document and petition A Review of Social Benefit and Support Programs submitted to the Canada Council for the Arts, June 2001, Available to Dancers and Other Artists in Canada and by Regroupement quécebois de la danse, Dance Umbrella Other Countries, Research Unit of the Canada Council for of Ontario, et al. the Arts, April 2003.

Dance at Risk (Part 2)/La danse en péril (suite), document submitted to the Canada Council for the Arts, September 2001, by Regroupement québecois de la danse, Dance Umbrella of Ontario, and Canadian Association of Professional Dance Organizations.

Dancer Transition Project, Cogem Inc., February 1985.

Dancer Transition Resource Centre: Tenth Year Follow-Up Research Report, Bristor and Associates, May 1996.

Government Expenditures on Culture, 1999–2000, Culture Statistics Program, Culture, Tourism and the Centre for Education Statistics, Statistics Canada, 2002.

Impacts of a Change in Employment Status of Performing Artists on Organizations in the Arts and Culture Sector, a report for the Department of Canadian Heritage by the Tax Policy Services Group of Ernest & Young, Fall 2002.

On Transition: Dialogues from the Dancer Transition Resource Centre Conferences, 1985–1998, edited by Carol Anderson, Dancer Transition Resource Centre, 2002.

PG 116 Making Changes NATIONAL SUPPORT

National funds for the arts are generated through taxation and the national lottery and are distributed by Arts Part Two: III Council England.

The National Department for Culture, Media and Sport DANCE provides funds from taxation and the national lottery to Arts Council England. ACE distributes these resources to arts organizations through regular ongoing funding and to IN those who do not receive regular funding through the Grants for the Arts program. In 2003–2004, £350 mil- ENGLAND lion (U.S.$583 million19) will be distributed through the taxation stream, and approximately 80 percent of this amount will provide revenue funding to 1,100 arts organizations. Of those organizations, there are approximately 100 regularly funded dance organizations, including companies, agencies, festivals, and key venues. Excluding the Royal Ballet (which is part of the Royal Opera House), dance organizations will account for £30 million (U.S.$50 million) in funding in 2003–2004. he United Kingdom consists of England, Scotland, Wales, and Northern Ireland, each with devolved In March 2003, Arts Council England announced its T responsibility for the funding and development of three-year spending plan, including growth of £75 mil- the arts. This profile focuses on England, with reference lion (U.S.$125 million) in 2004–2005 and to the other countries as relevant. 2005–2006. The plan’s priorities are the individual artist, helping arts organizations “to thrive, not just sur- Arts Council England (ACE) is the agency responsible for vive,” cultural diversity, young people, and growth in the public funding and development of the arts. It consists of cultural sector. Under the new plan individual artists will a national office, responsible for national overview, strat- be eligible for £25 million (U.S.$42 million), double the egy, and coordination, and nine regional offices, respon- current provision. Arts organizations that receive ongoing sible for regional strategy and the delivery of funding to funding from ACE will benefit from a total increase of individuals and organizations based in their geographic 17.8 percent, and new and innovative organizations that region. The national office has a four-person dance do not receive regular funding will benefit from £123 mil- department, each regional office has an officer responsi- lion (U.S.$208 million) available through Grants for the ble for dance, and there are regular network meetings for Arts. Dance will receive an increase of 33 percent, or officers to share information, coordinate developments, £630,000 (U.S.$1 million), to the national dance agen- and promote professional development. This pattern is in cies and an additional £1.9 million (U.S.$3.2 million) for 20 line with other art forms. ballet touring.

REGIONAL SPREAD Since March 1995, the Arts Council England has distributed the share of lottery money raised for the arts in London remains the powerhouse for the creation, produc- England. The other lottery beneficiaries are sports, her- tion and presentation of dance, and an international dane itage, charities, health, education, and the environment. capital. In 2000–2001, lottery revenue devoted to dance totaled £973,000 (U.S.$1.6 million). Initially restricted to cap-

19 Currency conversion throughout: 1 British pound (£) = U.S. $1.66519 according to http://www.xe.com/ucc/ accessed 10/13/03. 20 Arts Council England press release, Arts Enter New Era of Growth, 03/25/2003. http://www.artscouncil.org.uk/pressnews/ accessed 10/13/03.

The aDvANCE Project PG 117 ation of dance for the camera and the use of computer- PART TWO: III based technologies. ital developments, the lottery has had a major impact on In 1998–1999, whereas only 17 percent of the regularly the infrastructure of dance throughout England. funded dance companies were classical (compared with 39 percent contemporary and 22 percent African), ballet Local authorities are also major arts funders, providing accounted for 48 percent of performances and an over- almost as much support as the national government. whelming 72 percent of dance attendance. Contemporary However, dance tends to benefit relatively less than other dance created the majority (32 percent) of new works but arts from local authority funding, in part for historical rea- accounted for only 27 percent of performances and 15 sons exacerbated by its limited building base. percent of overall dance attendance. African dance was the next largest genre in the dance sector in England dur- PRIVATE SUPPORT ing this period, with 16 percent of new works, 11 percent of performances, and six percent of dance attendance. In addition to public support, charitable trusts, foundations, and corporate sponsors provide funding for the arts. EMPLOYMENT FOR DANCERS

Charitable trusts and foundations contribute to the mix of A wide range of employment opportunities is available to financing for the arts in England, and some are significant dancers in England, from large-scale companies offering funders. Those that have made the greatest contribution full-time contracts and benefits to project-based work in a to dance include the Jerwood Foundation (capital proj- variety of genres. ects, initiatives to promote the health and well-being of dancers, choreographic awards); the Gulbenkian The Royal Ballet, Birmingham Royal Ballet, English Foundation (education, training, and professional devel- National Ballet, Northern Ballet Theatre, Rambert Dance opment); and the Esmée Fairbairn Foundation (produc- Company, and Scottish Ballet are all large-scale compa- tion, touring, regional development). Corporate sponsor- nies that offer dancers full-time, year-round contracts with ship is more variable. Traditionally linked with marketing benefits including access to regular classes, physical ther- and corporate entertainment, dance has found it difficult apy, pensions, and career transition and retraining sup- to offer the kinds of opportunities sponsors are seeking. port through Dancers’ Career Development (Company This culture is changing to incorporate more sophisticat- Fund Division).21 These companies generally perform in ed notions of positioning, community profiles, and corpo- theatres seating more than 800 people and employ rate responsibility, which are more useful to dance. around 330 dancers.

DANCE ORIENTATION Musical theatre also tends to be large scale and can offer dancers extended periods of employment. Adventures in Of the regularly funded dance organizations in Motion Pictures’ (AMP) tours of Swan Lake, for example, 2000–2001, four ballet companies accounted for 63 per- are often extensive and provide employment for signifi- cent of total income, 24 percent of performances, and 28 cant numbers of dancers. In total, large-scale works pro- percent of known attendance. vide employment for around 500 dancers at any one time and for an additional 400 people in administrative, artis- Professional dance in England can be broadly categorized tic, marketing, educational, technical, and other roles. into ballet, contemporary, South Asian, African peoples’ dance, and musical theatre. However, these categories Mid-sized companies in the U.K. include DV8, Random, are evolving, and the boundaries are blurring as artists Richard Alston, Shobhana Jeyasingh, CandoCo, Siobhan develop new languages and innovative practices. Ballet is Davies, Phoenix Dance Company, Akram Khan, George working with contemporary and culturally diverse dance genres, and culturally diverse dance forms are growing, 21 Companies contributing to the Dancers’ Career Development company scheme diversifying, collaborating, and fusing. Some relatively currently include: Adzido Pan African Dance Company, Birmingham Royal Ballet, English National Ballet, Northern Ballet Theatre, Rambert Dance Company, Richard new sectors are also growing rapidly. An example is the Alston Dance Company, Phoenix Dance Company, Scottish Ballet and the Royal area of dance and new media, which includes the cre- Ballet.

PG 118 Making Changes Piper Dances, the Cholmondeleys and the DANCE IN ENGLAND Featherstonehaughs, Diversions (Wales), and Scottish Dance Theatre. Many of these companies are choreographer-led and perform the choreographer/artistic director’s funded by the Department for Education and Skills. work in mid-sized theatres with 300–800 seats. Around 250 such scholarships are available. Dance can be studied at the degree level in universities and some Work on a project or seasonal basis can offer dancers con- vocational training colleges. tracts that extend for several months. Many dancers work with more than one of these companies, although the The private sector is healthy, with around 5,00022 teach- choreographers usually have a core group of dancers with ers affiliated with one or more of the teaching organiza- whom they work regularly. In total, these companies pro- tions (e.g., Royal Academy of Dance [RAD], Imperial vide employment for around 150 dancers, many of whom Society of Teachers of Dance, British Ballet Organisation). will also experience periods of unemployment. The com- They reach approximately 350,000 young people at any panies tend to have leaner management structures than one time, 200,000 of whom take graded examinations in the larger companies and thus provide work for about particular dance genres each year. The teaching organiza- 100 people in other roles. tions provide training and continuing professional development for their affiliated teachers, and many offer their Small-scale groups include research and development examinations overseas (e.g., RAD offers examinations in projects and work produced for smaller venues of up to about 60 countries). 300 seats. This sector is very dynamic and can include 100 or more projects in any year, about 80 of which will Aspiring professional dancers will normally attend one of receive funding on a project basis. The sector also 23 accredited vocational training colleges. Those catering includes some established companies dedicated to small- to ballet and jazz dance genres will normally take stu- scale works, such as Ludus Dance in Education and dents from age 16, whereas those focused on contempo- Motionhouse. rary dance will normally take students starting at age 18. Most courses are for three years and lead to a diploma or Dancers also work in opera, theater, film, video, and com- degree qualification. Advanced training in South Asian mercial events. There is some evidence of increasing flu- dance is offered by a small number of private teachers, idity between dance-led and collaborative arts produc- but there is no state provision for professional training in tions. Digital dance is a growing area and includes dance South Asian-based and African-based dance forms. created for film and other digital means of dissemination. Several universities offer degrees in dance, and some include modules in South Asian-based and African-based EDUCATION AND TRAINING forms. Degrees are available at the BA, MA, MPhil, and Ph.D. levels. Dance is a part of the National Curriculum, and further training is available in private programs, universities, and AUDIENCE GROWTH vocational training institutions across the country. Dance audiences have increased by nearly 29 percent in As part of physical education (PE) in the National since 1990, more than any other art form. Curriculum, dance is compulsory in primary schools, whereas secondary schools can choose whether to offer Some evidence indicates that audiences for dance are dance. In primary schools the emphasis tends to be on growing faster than those for other art forms. Target Group teaching through dance rather than teaching about dance. Index data for the years 1990–1995, when compared Some schools also offer clubs and other forms of dance with data for the period 1995–2000, show an increase of activities outside the main curriculum. Examinations can nearly 29 percent. Some of this growth is likely a result of be taken in dance at the GCSE (16-year-olds) and AS/A the increased availability and diversity of dance. (17–18 years) levels. It can also form part of examinations in PE and the performing arts. Four boarding schools offer training in dance (mainly ballet) alongside 22 education for 11–16-year-olds and offer scholarships Council for Dance Education and Training.

The aDvANCE Project PG 119 Development (DCD). The organization was established in PART TWO: III 1974 to provide practical, psychological, and financial career transition support. Today, DCD is the premier A recent study in Scotland found there was no easily authority for retraining professional dancers in the U.K. definable “dance audience” but rather that people who Among the services offered are educational advice, career attend dance events are likely to share certain character- coaching, emotional counseling, résumé-writing and istics such as enjoying risks and challenges. The survey interview guidance, grants for retraining, business startup also found that dance is good for venues; often, it is the grants, and ongoing support for professional dancers program that attracts people to attend an event at a venue nationwide. It is DCD’s mission to support all U.K. for the first time and to return to experience other art dancers within all dance forms wishing to retrain for forms. accredited careers either within or outside the dance profession.23 SERVICE ORGANIZATIONS

In addition, various other organizations in the U.K. seek Since the early 1990s, an extensive network of national to help dancers with Continuous Professional dance agencies has developed in the U.K. Development (CPD) within the dance profession. Most of the larger companies offer their dancers opportunities for Service organizations for dance offer programs that career progression. The Birmingham Royal Ballet, for include classes, workshops, and other participatory proj- example, offers a work-based program leading to an MA ects alongside professional commissions, networking qualification in partnership with a local university, and the events, and presentations. Many areas have county or Royal Ballet promotes artistic development through its local dance agencies that offer similar programs on a ROH too program. smaller scale with fewer professional projects. Several key umbrella organizations provide research, networking, pro- Several umbrella organizations also have a remit to professional development opportunities, and advocacy. vide CPD. For example, Dance UK manages a program of observerships and bursaries for choreographers and sup- Dance UK focuses on the professional dance sector and port and networking for managers, choreographers, and includes the Healthier Dancer Programme and, more independent dance artists. recently, the Association of Dance of the African Diaspora; the Foundation for Community Dance has a special inter- Arts Council England was instrumental in establishing the est in dance in community contexts; South Asian Dance Dancers Pension Fund, and the larger companies that Alliance is a network of South Asian dance organizations; receive regular funding are obliged to contribute to this the Association of National Dance Agencies sprovides a fund as well as to Dancers’ Career Development. forum for discussion and joint initiatives such as British Dance Edition; the Council for Dance Education and Please see Section IV for additional information about Training focuses on teaching organizations and the voca- DCD. tional training sector; and the National Dance Teachers Association is an organization for teachers of dance in state education.

TRANSITION FACILITATION

England offers a wide range of programs for dancers in career transition, reflecting a strong awareness of the challenges of continuing professional development in this context.

England boasts one of the world’s four formal centers for 23 career transition for professional dancers, Dancers’ Career Dancers’ Career Development, http://www.thedcd.org.uk/, accessed 10/15/03.

PG 120 Making Changes DATA FOR ENGLAND DANCE IN ENGLAND Overview: Statistics Source: Arts Council England Statistical Survey of Compared to the previous year, attendances at dance Regularly Funded Organizations 2000–2001 increased by 22%, whereas subsidy per attendance decreased by 19%. Total number of dance organizations surveyed: 57 Full sample across all art forms: 468 Four ballet companies accounted for 63% of total income—59% of earned income, 76% of contributed Total income: £69,148 million income, and 67% of ACE subsidy. They also accounted Full sample: £522,674 million for 25% of performances and 58% of known attendance.

ACE subsidy—44% Lottery revenue income to all dance—£973,000 (average across full sample—37%) Local authority subsidy—4% Note: 1 British pound (£) = U.S. $1.66519. Currency (average across full sample—9%) conversion: http://www.xe.com/ucc/ accessed 10/13/03. Earned income—43% (average across full sample—47%) Contributed income—8% (average across full sample—8%)

ACE subsidy to the 57 dance organizations amounted to £30,589 million. This compares with £63,681 million to music (63 organizations) and £56,910 million to drama (117 organizations).

Commissions of new dance works: 445

Total performances—2,729 Total attendance—9,005 million At performances—1,655 million (known) + 131,000 (estimated) = 1,786 million At workshops—353,000 (known) + 126,000 (estimated) = 479,000 Broadcast—243,000 (known) + 6,497 million (estimated) = 6,740 million

ACE subsidy per attendance—£13.51 (average across full sample—£6.15) Local authority subsidy per attendance—£1.29 (average across full sample—£1.43) Total subsidy per attendance—£14.80 (average across full sample—£7.58)

Earned income per attendance—£13.20 (average across full sample—£7.84)

The aDvANCE Project PG 121 PART TWO: III

Core funding 2003–2004 Source: ACE Press Release The following chart shows the distribution of funding to regularly funded organizations in 2003–2004. Performing companies account for by far the largest amount of money (£20.9 million).

Core Funding 2003–2004 Number Funding (£million) Companies 38 20.9 National dance agencies 8 1.5 Agencies 45 1.5 Venues 6 1.6 Festivals 3 0.5 Umbrella bodies 6 0.6

• Companies do not include the Royal Ballet, which is funded through the Royal Opera House.

• In addition to the eight national dance agencies (NDAs) noted, the Place receives an element of its funding to support its NDA activities; other elements of its funding support the Theatre and the Richard Alston Dance Company, which is the largest element, so this funding is included in Companies.

• Agencies include county and local dance agencies and artists’ management agencies.

• Venues include only those funded through dance; other budgets support mixed program venues that may include dance in their programs.

• Umbrella agencies include those with a national sec- toral remit, such as Dance UK and the agencies that constitute the South Asian Dance Alliance.

This chart does not include funds provided through the Grants for the Arts program.

PG 122 Making Changes DANCE IN ENGLAND

Growth in Arts Council England Funds for Dance: 1969-1999 1969-1970 1979-1980 1989-1990 1998-1999 £ £ £ £ Grant-in-aid (ACGB/ACE) 8,200,000 63,125,000 155,500,000 189,950,000 At 1969-1970 prices 8,200,000 19,414,134 23,482,505 20,289,319 ACE expenditure on arts in England 6,456,000 48,613,000 147,428,000 188,293,000

Total expenditure on dance 1,587,892 8,718,290 12,244,467 23,236,478 (note:1969-1970 and 1979-1980 include opera) At 1969-1970 prices 1,587,892 2,681,316 1,849,072 2,481,981 Dance as a percentage of total expenditure on arts 25% 18% 8% 12% in England Expenditure on dance, excluding Royal Opera House, 187,892 1,718,290 4,666,967 11,364,198 Royal Ballet, and Birmingham Royal Ballet At 1969-1970 prices 187,892 528,461 704,772 1,213,855 As a percentage of total expenditure on arts 3% 4% 3% 6% in England Number of organizations supported 7 31 64 74 Average grant at 1969-1970 prices 26,842 17,047 11,012 16,403

Note: 1 British pound (£) = U.S. $1.66519. Currency conversion: http://www.xe.com/ucc/ accessed 10/13/03.

The aDvANCE Project PG 123 1970s PART TWO: III London Contemporary Dance Theatre undertakes residency tours; first three animateurs appointed (Swindon, A SHORT HISTORY OF DANCE IN ENGLAND Cheshire, Cardiff), taking contemporary dance to local communities with an emphasis on access, education, and Pre-20th century participation. X6 and the emergence of the independent Dancing popular at Tudor and Elizabethan courts, skill in dance artist. ACE music department employs a ballet and dancing as important as swordsmanship for “gentlemen,” dance officer, London Arts employs a dance and mime and the term “the dancing English” coined. All theatrical officer. entertainment suppressed by the Puritans. Dance re- emerged as popular entertainment in the music halls of 1974 Victorian England. Dance Companies Resettlement Fund (today known as Dancers’ Career Development Company Fund Division) is 1900–1910s formed under the joint sponsorship of the then Arts Growing interest in health, in physical fitness of the pop- Council of Great Britain and British Actors Equity ulation, and in work of Ruby Ginner, Margaret Morris, Association to give assistance in training for or establish- Isadora Duncan. Diaghilev's London Seasons. ing a new career for dancers employed in what were then the “revenue funded” dance companies. Funding was pro- 1920s vided through the Arts Council grant which was increased Diaghilev in London for longer seasons, English dancers in order to provide an annual sum equivalent to five per- Ninette de Valois and Marie Rambert established own cent of their dancers’ salary bill. Entitlement to benefit schools and companies. Development of teaching sys- was originally restricted to those dancers who joined the tems and examinations in ballet. Dancers Pension Scheme which was set up at the same time, but following the change in legislation in 1986, 1930s which prohibited employers making membership of a Growing number of ballet companies. With the outbreak Pension Scheme compulsory, this requirement was with- of World War II, the Council for the Encouragement of drawn. Music and Drama was established, the precursor of the Arts Council. Ballet not included until 1942, although 1979 ballet toured as popular entertainment to the troops and ACE establishes its dance department. munitions factories. 1980s 1945 Number of animateurs grows to over 80, with seed fund- Sadler’s Wells Theatre Ballet reopens the Royal Opera ing from the Arts Council. Establishment of National House at the end of World War II with Sleeping Beauty, Association of Dance and Mime Animateurs (NADMA, takes up residence. Ballet Rambert and Ballets Jooss are now the Foundation for Community Dance) following ACE the only other dance companies supported by the Arts conference. First Dance Umbrella Festival. Establishment Council. of National Association of Dance and Mime Artists (now Dance UK). Increase in number of companies, e.g., 1950s Extemporary Dance Theatre, Mantis, Janet Smith and Martha Graham brings her company to London for the Dancers. Growth of culturally diverse dance forms. first time. Beginnings of wider interest in new, contempo- Emergence of dance in education companies, including rary dance languages. Ludus, and development of education programs by larger dance companies. Growth of youth dance. First dance 1960s degrees (Laban Centre), dance in higher education Rambert becomes a modern ensemble company. London (Surrey, Middlesex). Regional arts boards employ dance School of Contemporary Dance and Company founded. officers. Beginnings of British contemporary dance. Stepping Forward: A blueprint for the development of dance in the 1990s, Graham Devlin.

PG 124 Making Changes 1988 DANCE IN ENGLAND The Dancers Trust (today the Dancers’ Career Development Independent Trust Division) is established as a registered charity, to support all professional dancers DEMOGRAPHICS FOR UNITED KINGDOM in the U.K. falling outside the Company Fund Scheme with retraining and career transition support services. Population: 60,094,648 (July 2003) 1990s Includes population for all of United Kingdom (islands Establishment of national dance agencies, many growing between the North Atlantic Ocean and the North Sea, from animateur projects, e.g., Swindon Dance. northwest of France, including Northern Ireland). Emergence of choreographer-led dance companies, such as Siobhan Davies Dance Company, the Cholmondeleys, GDP per capita: Adventures in Motion Pictures. Increase in the number purchasing power parity—$25,500 (2002 est.) and diversity of companies and independent artists growing at faster rate than Arts Council funds. Increased Labor force: awareness of issues related to status of dance, spaces, 29.7 million (2001) working conditions, Healthier Dancer Programme, training and support for administrators. Establishment of Unemployment rate: dance in the National Curriculum. Increased funding for 5.2% (2002 est.) the arts through a portion of proceeds of the national lottery promoting the development of buildings for dance Currency: and, later, a wide range of projects. Growing internation- 1 British pound (£)=U.S. $1.66519. Currency conver- al reputation. sion: http://www.xe.com/ucc/ accessed 10/13/03.

2000 Source: The Dance Companies Resettlement Fund and The U.S. Central Intelligence Agency, The World Factbook, Dancers Trust are combined as a registered charity under available at http://www.cia.gov. the new name ‘Dancers’ Career Development. The mid-2002 population of the constituent countries of 2000s the United Kingdom is estimated as follows: ACE introduces fellowships for individual artists. Growth of interest in dance for the screen and digital technology. • England 49,561,800 (83.7 per cent of the total U.K. ACE restructured to create a single organization with nine population) regional offices. More secure funding for students through • Scotland 5,054,800 (8.5 per cent) the Dance and Drama Awards scheme and later through • Wales 2,918,700 (4.9 per cent) the Higher Education Funding Council for England. • Northern Ireland 1,696,600 (2.9 per cent) Source: http://www.statistics.gov.uk accessed 2/24/04

The aDvANCE Project PG 125 regions enjoy over 50 percent of both the companies subsidized and the allocated funds. The regions of Nord pas de Calais, Rhône Alpes, and Aquitaine et Midi Pyrénées receive approximately five percent of the subsi- Part Two: IV dies. Only Guadeloupe has no company that receives government subsidy. DANCE IN FRANCE

CULTURAL POLICY DANCE ORIENTATION ince 1998, French government support for dance has been shaped by a policy of decentralization Over 80 percent of French dance companies are modern/ S and implemented by Regional Management for contemporary. Cultural Affairs. SPONSORSHIP Since January 1, 1998, the Ministry of Culture and Communication has implemented procedures that reflect Though less prevalent in France than in other countries, the French government’s mission to decentralize govern- sponsorship does exist. Current figures for the increased ment funding. As a result, applications for government involvement of sponsors are not available. support must go through Regional Management for Cultural Affairs (directions régionales des affaires cul- GOVERNMENT FUNDING turelles, or DRAC). Applications are reviewed once a year by six interregional commissions made up of experts In 2001, the state subsidized nearly 200, or 32 percent, appointed by the prefect of the region. Based on the of French dance companies with annual budgets of 4.3 advice of the commission, the prefect determines who million euro (€ ) (U.S. $5.2 million).24 will receive government support. The 2001 budget of the French Ministry of Culture was The region of Ile-de-France (in which Paris is located) 2.5 billion € (U.S. $3.1 billion).25 The budget for boasts 30.6 percent of the country’s subsidized dance dance, 4.3 million € (U.S. $5.2 million), was 17.2 per- companies and 34 percent of funds allocated. However, cent of the total cultural budget that year. The budget for the redistribution of funds over the past few years has culture was 0.98 percent of the French government’s started to benefit other regions. The region of Languedoc total budget.26 Institutions that received French govern- Roussillon now claims 12.7 percent of subsidized com- 24 Currency conversion: http://www.xe.com/ucc/. Currency shown in French francs (F) or panies and 8.8 percent of total funds, and the region of euros (€ ) and converted to U.S. dollars ($) for comparison. 1 U.S. $ = 5.175 F. 1 U.S. $ Provence Alpes Côtes d’Azur claims 8.16 percent of the = 0.7889€ . 25 Département des études et de la prospective: http://www.culture.fr/dep/index.html companies and 11.5 percent of the funds. These three 26 Ibid.

The aDvANCE Project PG 127 GOVERNMENT INTERVENTION PART TWO: IV Production, artists-in-residence, and dissemination are ment subsidies include the ballets of the Association of the primary areas of French government support. French lyrical theatres (Réunion des individu lyriques de France, or RTLF), the National Centers for Choreography Since 2002, three types of funding for production have (Centres chorégraphiques nationaux, or CCN), and inde- been available to dance companies: project support, pendent companies. granted on an annual basis, enables the creation of a new work or revival of repertoire; company support, granted The ballets of the RTLF were founded in 1964, and, like for a two-year period, is intended to stabilize jobs through the association of lyrical theatres, they benefit from the the development of company activities; and state con- support of the Ministry of Culture and Communication. tracts, awarded for a three-year period, are reserved for Today, the association is made up of 20 operas compa- companies that have proven artistic excellence and nies, only 8 of which have permanent ballets companies. demonstrated institutional stability. In total, the ballets of the RTLF employ 324 permanent dancers. L’Opéra national de Paris alone, with 151 Support for artists-in-residence is awarded to a host insti- dancers, represents nearly half of this group. tution, which then chooses participating artists. Three types of funds are available for artists-in-residence: the There are 19 National Centers for Choreography in creative-residency is intended to support the completion France. Officially established in 1988 and financed pri- of a new piece and ranges from a few weeks to a number marily by the government, National Centers for of months; the mission-residency can range from a few Choreography now exist in 15 of France’s 22 regions. months to an entire season and is designed to support the Directed by choreographers, these institutions’ mission development of a dance program for a geographic region; includes dance creation, dissemination, training, and and the establishment-residency involves a long-term audience development. In 1999, the overall budget for plan that develops over two or three years and is appro- the CCN was 231.35 million francs (F) (U.S. $40 mil- priate in localities or cultural institutions where there is a lion), of which 64 percent came from the French govern- demonstrated need for a dance company or an artistic ment (66.7 million F [U.S. $12.8million] from the presence. national government and 81.25 million F [U.S. $15.5 million] from local governments). Local authorities today Support for the dissemination of dance is achieved provide increasing amounts of financial support for inde- through the recognition and support of two types of net- pendent dance companies, the CCN, and RTLF ballets. works: “subsidized dance theatres” or “stages for dance” and the National Centers for Choreography. These venues Some of the National Centers for Choreography are con- for dance are identified and officially classified by the sidered “Acceuil Studios,” or Host Studios. Since 1998 DRAC and are renowned for initiatives designed specifi- they have received an additional 300,000 francs (U.S. cally to achieve greater public understanding of dance. $52,000) from the Ministry of Culture and Communication for this purpose. Host Studios provide In December 2001, Minister of Culture Catherine Tasca independent companies with a wide range of services announced two new areas of government support for including logistical support, equipment loans, local con- dance: choreographic writing and dance studios. Funding tacts, residencies, opportunities for co-productions, pres- for choreographic writing is intended to support experi- entation of works in progress, housing, sale of works, and mental activities and therefore favors projects that are similar assistance. innovative, interdisciplinary, and organized around a specific problem. Each project is only eligible once, and the Cabarets and producers of variety shows do not benefit funds—between 5,000 and 15,000 € (U.S. from government subsidies for dance. $6,400–$19,200)—can be allocated to either individuals or groups.

Support for dance studios is granted annually and is given to companies already subsidized by the government.

PG 128 Making Changes Companies must demonstrate regular activity and have a DANCE IN FRANCE working studio made available by local authorities. This type of aid supports partnerships between local and national governments. Funding ranges from 15,000 to JOB MARKET 30,000 € (U.S. $19,200–$38,350). The majority of dancers in France (89 percent) work tem- DANCER CHARACTERISTICS porarily for a number of different employers.

There are approximately 5,000 dancers in France, the Classical dancers rely primarily on RTLF ballets for work, majority of whom are young women.27 whereas contemporary dancers rely on the CCN and the more progressive ballets of the RTLF. Approximately 500 The population of dancers within the performing arts dancers work under a full-time, permanent contract community is very small; there are 5,000 dancers and (under either a contract of indefinite time or a “Galland approximately 30,000 musicians and 25,000 actors in contract,” which is for one year and is renewable). The France. Within the dance community there are approxi- majority of dancers, estimated at 4,000, work temporar- mately 4,500 intermittent dancers and 500 permanent ily for a number of different employers. dancers employed by dance companies.28 The number of intermittent dancers has grown tremendously, from only The job market for dancers grew impressively between 1,400 in 1987, whereas the number of permanent 1987 and 2000. During this period the number of con- employees has remained stable. tracts for choreographers multiplied by almost 8.0, wages multiplied by 2.6, and the number of employers multi- Within the dance profession, 68 percent of intermittent plied by 4.6. In 2000, the number of active employers dancers and 56 percent of permanent dancers are was higher than the number of paid dancers. women. (By comparison, only 23 percent of musicians and 44 percent of actors are women.) The dance popula- However, a comparison of the different levels of growth tion is relatively young: the average age is 29 for perma- reflects significant changes in the nature of jobs available nent dancers and 32.5 for intermittent dancers (com- to dancers. Contracts at the end of the period of study pared with an average age of 38 for intermittent musi- were, on average, much shorter and for lower pay than cians and actors). However, statistics show that the those at the beginning. In fact, the average length of a dancer population is aging: dancers over 40 represented dancer’s contract went from 28.0 days in 1987 to 6.9 8 percent of intermittent dancers in 1987 and 20 percent days in 2000. Jobs also became increasingly dispersed of those dancers in 2000. The majority of dancers have among more and more employers that each offered, on achieved at least the French baccalaureate degree (the average, a smaller volume of jobs. In 1987, 116 days of American equivalent of a high school diploma), and 1 out employment were offered to dancers, and in 2000 only of 5 intermittent dancers has a higher degree. 56 days, or less than half the 1987 figure, were available. Such a job market requires that professional dancers Within the dance community, 27 percent of permanent maintain an increasingly large network of jobs; in order to dancers and 18 percent of intermittent dancers in France make the same amount of money, a dancer must have 4 are foreigners. Similarly, 16 percent of French dancers times as many jobs in 2000 as in 1987. However, pro- have obtained work abroad in the past 12 months, and fessional dancers worked less in 2000 than they did in 47 percent have found work abroad in the course of their 1987: in 1987, dancers worked an average of 95.0 days, careers. compared with an average of only 59.3 days in 2000.

DANCERS’ INCOMES

The median level of compensation in 2000 was the same

27 Information about dancers from the Ministère de la Culture et de la as that in 1987. However, average annual compensation Communication (2003). 28 Permanent employment is provided by a dozen institutions including the eight bal- dropped by more than 10,000 F (U.S. $2,000). lets of the RTLF and the four National Centers of Choreography. Intermittent dancers are those who work sporadically for a number of different employers, like freelance or independent dancers in the U.S.

The aDvANCE Project PG 129 Training at the École du Ballet De l’Opéra de Paris lasts PART TWO: IV five to seven years and is free. Students follow a general path of education established by National Education, and Dancers’ annual incomes are generally low, especially for 90 percent of the students obtain their baccalaureate those not permanently employed with a company. One of degree in literature. This school prepares dancers for five intermittent dancers earned less than 7,622 € (U.S. admission to the corps de ballet of the Opéra. $9,600) in 2001. By contrast, 64 percent of dancers with permanent companies earned between 15,250 and Colline/Compagnie D’Insertion Professionelle (Istres) pro- 30,500 € (U.S. $19,397-$39,187) in 2001. vides two years of free training to prepare choreographers for the professional workplace. Candidates must be 18 to HIGHER EDUCATION AND PROFESSIONAL 25 years of age. TRAINING Centre Chorégraphique National de Montpellier– State-subsidized education in modern and classical Languedoc Roussillon (CCN) offers a six-month polishing dance, theatre, jazz, and choreography is offered in major program in contemporary dance for dancers under age 26 cities throughout France. who are “pre-professional,” or at the start of their careers. This free training is offered to 15 dancers including 3 for- France has two National Conservatories for Music and eign grant holders. The Regional Council of Languedoc Dance (le Conservatoire National Supérieur de Musique et Roussillon finances this training program. de Danse); one is located in Paris and the other in Lyon. The program of study lasts three or four years and is Centre de Développement Choregraphique (Toulouse) organized in two sections, classical and contemporary. (CDC) offers a training course for professional dancers, or Candidates must be between 14 and 20 years of age. The those nearing professionalism, with 308 hours of cours- National Diploma for higher choreographic study is es, workshops on improvisation and composition, and awarded upon the completion of studies. meetings with professionals.

École Supérieure de Danse de Cannes/Centre de Danse Founded in 1983, the objective of the Jeune Ballet de International Rosella Hightower was created in 1960 and France is to train young dancers to join professional com- recognized by the government in 1990. This school offers panies. The school offers alternating training programs, a course in dance studies as well as pre-professional productions, rehearsals, and tours. This program is training for students ages 18 and under. Three options are offered to dancers ages 16–20 who are from schools and offered: classical, contemporary, and “jazz-theatre-voice.” conservatories and have had no former professional contracts. École Nationale Supérieur de Danse de Marseille- Pietragalla was created in 1992 and offers three training TRANSITION AWARENESS cycles: the orientation cycle (eight years), the elementary cycle (11 years), and the higher-level cycle (15 years) In 2002, the National Opera of Paris conducted a land- with two tracks–classical and contemporary. A one-year mark study of career transition for dancers.29 class to prepare to enter the professional job market is offered to dancers ages 18–22 who are classically In 2002, the l’Opéra National de Paris (ONP, or the trained. National Opera of Paris) conducted a study of its dancers and career transition. Ninety former dancers were con- Centre Nationale de Danse Contemporaine D’Angers tacted, and 50 percent responded to the questionnaire. (CNDC) L’Esquisse was created in 1978 and offers two years of professional training for French and foreign The study revealed that 82.5 percent of former dancers dancers ages 18–22. The school is free, and the scholar- transitioned to careers in the field of dance, and of those, ship money is offered by the Ministry of Culture. 65.0 percent became dance teachers. Other post-transi-

29 L’Opéra National de Paris, 2002.

PG 130 Making Changes tion careers in dance included choreography (seven per- DANCE IN FRANCE cent) and positions of leadership in dance schools, conservatories, or ballet companies (seven percent.) Only eight percent of former dancers surveyed found work in a DATA FOR FRANCE field outside the arts or were currently seeking work. The majority of former dancers surveyed (81 percent) report- Number of Dancers (2003): ed being somewhat or very satisfied in their post-transi- 5,000 total dancers tion careers, 78 percent were in permanent positions, and 4,500 intermittent dancers 44 percent were earning less in their new positions, with 500 permanent dancers 42 percent earning more than they had as dancers. Source: Ministère de la Culture et de la Communication Of the dancers surveyed, 67 percent took steps to prepare (2003). for career transition before leaving the ONP. The two most common steps dancers took to prepare for transition were seeking information or counseling and retraining. Among the dancers surveyed, 58 percent found post-transition employment through personal contacts, 17 percent found post-transition work through the ONP, and 42 percent found work another way.

In retrospect, former dancers who participated in the study said they wished they had started preparing for transition earlier and that they had studied for a parallel career while still dancing. However, dancers noted that they did not have the time to do so. Former dancers reported that the ONP could have helped ease the transition process by initiating dialogue about transition, providing counseling, and encouraging and supporting internships and retraining.

TRANSITION FACILITATION

A specific program for dancers’ career transition does not exist in France; however, dancers do benefit from government programs for all salaried employees.

Like all salaried employees, French dancers are eligible for career development programs. The Association for Performance-Related Career Development (Association pour la formation dans les activités du spectacle, or l’AFDAS) manages training programs for performing artists. In addition, a long-term plan for continuing education, the CIF (congé individuel de formation), lasts one year, is full-time, and is available to all salaried employees.

The aDvANCE Project PG 131 PART TWO: IV

Number of Dancers by Genre (2002) Type of Dance Percentage of Intermittent Dancers Percentage of Permanent Dancers Classical 4% 63% Contemporary 45% 33% Cabaret 16% Jazz 7% Hip-hop 6% 4% Musical theatre, operetta 6% Ethnic or traditional dance 6% Other 10% Total 100% 100% Source: CESTA/Telephone interview with dancers (2002)/Dep 30

Dancers’ Income (2001) Annual Income Annual Income Permanent Intermittent Intermittent Bracket, in Euros Bracket, in U.S. Dollars Dancers Dancers Musicians (2001) (2001) (2000) < 3,811 € $4,898 9% 10% 14 3,811-7,470 € $4,898-$9,600 4% 11% 7,622-15,092 € $9,600-$19,397 17% 40% 34 15,245-30,490 € $19,397-$39,187 64% 34% 41 > 30,490 € $39,187 6% 5% 11 Total 100 100 100 Source: CESTA/Telephone interview with musicians (2001) and with dancers (2002)/Dep 31

30 Ministère de la Culture et de la Communication (2003). 31 Ibid.

PG 132 Making Changes DANCE IN FRANCE

Dancers’ Education (2002) Intermittent Dancers Permanent Dancers French dance school of 20% 61% higher education* Foreign dance school of 14% 23% higher education CNR/ENMD ** 17% 9% Other *** 27% 7% No formal training in 22% 0% school or conservatory Total 100% 100%

* Includes the two national conservatories for music and dance (CNSMD) in Paris and Lyon, the School of the National Opera of Paris, the National Center for Contemporary Dance in Angers (CNDC), the National Dance School of Marseille, and the National School of Dance, Rosella Hightower, in Cannes. ** Includes the national conservatories of each region (CNR) and the national schools of music and dance (ENMD). The dancers who attended these schools before attending a French or foreign school of higher education were included in the higher education categories. *** Other includes dance schools, specialized high school or university programs, and similar institutions. Source: CESTA/Telephone interview with dancers (2002)/Dep.32

Dance Companies Government Funding In 2000, 513 companies were listed by the National In 2001, the state subsidized 196 dance companies Center for Dance. The companies listed according to (compared with 182 in 2000): genre include: • 115 under the rubric of project support (108 in 2000) • 418 contemporary dance • 66 under the rubric of company support (57 in 2000) • 62 hip-hop • 15 under the rubric of state contract (17 in 2000) • 9 jazz and modern jazz • 9 ethnic or traditional dance The total budget had increased to 28,470 million F (ver- • 7 baroque sus 26,080 million F in 2000): • 6 classical dance • 7,040 million F were devoted to project support for • 2 other amounts ranging from 20,000 F to 180,000 F. • 12,510 million F were devoted to company support for The companies listed according to funding status include: amounts ranging from 70,000 F to 420 million F. • 166 companies subsidized by the Ministry of Culture: • 8,920 million F were granted to companies under state –95 companies with project support contract for amounts ranging from 350 million F to 950 –55 companies with company support million F. –16 companies under state contract • 347 companies not subsidized by the Ministry of Culture Note: 1 U.S. $ = 5.175 F. Currency conversion: http://www.xe.com/ucc/. 32 Ibid.

The aDvANCE Project PG 133 DEMOGRAPHICS FOR FRANCE PART TWO: IV Area: Audience33 547,030 sq. km. (slightly less than twice the size of In 1997, 13% of the French population over age 15 had Colorado) attended at least one folk dance performance in the past 12 months (versus 12% in 1989). GDP per capita: Purchasing power parity $24,400 (2000 est.) 8% attended a professional dance performance–ballet, Source: http://www.kmike.com/country/frdemog.htm modern, or contemporary dance–in 1997 (versus 6% in 1989). Population: 60,180,529 (July 2003) In 1997, 46% of the French population had attended at least one folk dance performance during their lives (ver- Source: U.S. Central Intelligence Agency, The World sus 45% in 1989). Factbook, available at http://www.cia.gov.

32% attended a professional dance performance—ballet, modern, or contemporary dance—in 1997 (versus 24% in 1989).

Attendance at the l’Opéra national de Paris Season Performances Viewers 1995-1996 118 247,897 1996-1997 174 315,395 1997-1998 177 312,251 1998-1999 173 319,299 1999-2000 165 291,720

Attendance at the RTLF Ballets (except for the l’Opéra national de Paris), 1999-2000: 144,562 viewers at 170 performances (in 12 theatres of the RTLF).

Attendance at dance performances and the national stages (sites for multidisciplinary works), 1997-1998: 257,866 viewers for 628 performances.

33 Data about audiences from Chiffres clés de la Culture, Département des études et de la prospective, Ministère de la Culture.

PG 134 Making Changes SOURCES DANCE IN FRANCE Unless otherwise noted, information in the French country profile is from the Centre de sociologie du travail et des arts (EHESS/CNRS), 2002. http://www.ehess.fr.

Other sources noted in the text include: Centre Nationale de la Danse: http://www.cnd.fr

Chiffres clés de la Culture, Département des études et de la prospective, Ministère de Culture et Communication: http://www.culture.fr/dep/index.html

Développement culturel, N°142, Bulletin du Département des etudes et de la prospective. Paris: Ministère de la Culture et de la Communication, novem- bre, 2003.

Summary of the study of career transition of former dancers from the Paris National Opera. Paris: CAPFOR Evolution, l’Opéra National de Paris, 2002.

The aDvANCE Project PG 135 GOVERNMENT FINANCING

Dance is funded largely by the states and by regional and Part Two: V city governments. Germany has sixteen states under the federal government. Funding for the arts is provided largely by the DANCE states, which subsidize the theatre companies described earlier. Public funding also exists at the regional and city levels (in cities with more than 50,000 inhabitants). In IN 2002, public support for the arts in Germany was 8.3 billion € (U.S. $10.3 billion) including 3.8 billion € GERMANY (U.S. $4.7 billion) from the states, 3.8 billion € (U.S. $4.7 billion) from cities and communities, and 844 million € (U.S. $1.0 billion) from the federal government.37 Of the total federal budget in 2002, 0.39 percent was devoted to the arts.

FREELANCE DANCERS

There are 1,000–1,200 freelance dancers and 100 efore the twentieth century, dance played a rela- dance groups in Germany outside of the subsidized the- tively insignificant role in the theater. In the early aters. B 1900s, a specific style called Ausdruckstanz (expression or German dance) developed in Germany. In addition to the fixed dance companies, there is a thriv- Dancers like Mary Wigman, Dore Hoyer, Gret Palucca, ing “Freie Szene” (free scene) in Germany, with theatres and Harald Kreutzberg are well known for performing and festivals that benefit irregularly from public funding. German dance all over the world.34 Today, two well- About 100 groups (with one to three choreographers known figures in dance in Germany are Pina Bausch, each) recruit dancers on a project basis from a pool of who created a new body language that is popular world- approximately 1,000 to 1,200 freelance dancers. wide, and the American choreographer William Forsythe, Because of limited funds, these groups present a smaller 38 whose ballet is a complete work of art that includes text, number of productions each year. music, light, technical support, and costumes.35 Freelance choreographers and dancers lack guaranteed Dancers in Germany traditionally worked within the payments, fixed income, and stable financial support and state-subsidized theatres. However, this situation has often earn a living by teaching dance and participating in evolved over the past thirty years and today dance com- commercial productions and events. Fees for freelance panies are more independent. Several companies are no dancers range from 2 to 250 € (U.S. $2.50–$315) per longer obliged to perform in affiliated opera and theatre performance. productions, and a number of dance ensembles have been founded that are completely independent of theater Important festivals and dance meetings in Germany for 39 houses. In 2004, there are approximately 86 dance these groups include euro-scene Leipzig , tanzherbst 40 41 companies in theater houses, with either two (opera and Dresden , TanzTage Berlin , Baden-Baden ballet) or three (opera, ballet, and drama) depart- Ballettfestspiele, TANZtheater INTERNATIONAL ments.36

37 1 Euro (€ ) = U.S. $1.25. Currency conversion: http://www.xe.com/ucc/ 38 Olaf Becker, member, Conseil International de la danse (CID), responsible for the “Freie Szene.” 39 34 http://www.leipzig-online.de/euro-scene/ Jochen Schmidt Ballett in Deutschland. Bonn: 1980 40 35 http://www.tanzherbst.de/ Ibid. 41 36 Goethe Institute: http://www.goethe.de http://www.tanztage-berlin.de/

The aDvANCE Project PG 137 BALLROOM DANCE PART TWO: V In addition to the classical, modern and musical dancers Hannover42, NRW Tanzfestival43, Kampnagelfabrik in Germany, there are approximately 600 ballroom dance Hamburg44, and Mousontrum Frankfurt45. professionals.

GROWTH OF MUSICALS DANCERS’ INCOMES

In addition to 1,500 classical and contemporary dancers, Dancers’ incomes vary by region and genre but in gener- Germany has a growing number of musical dancers.46 al, freelancers earn less than company dancers, who average 1,666 € (U.S. $2,080) in gross income per month. In contrast to the long tradition of classical theatre and dance, the musical is relatively new in Germany. Musicals In general, salaries for dancers are lower in eastern arrived in the early 1990s and reached their first peak in Germany and vary throughout the country according to 1995. Around this time, budget cuts in official spending type of dance and geographic region. Freelancers earn prompted the development of a number of privately run less than salaried employees. For commercial events, theater buildings. These theaters, with large stages and dancers are paid 500–1500 € (U.S.625-$1873) per halls with 1,250–1,800 seats, specialize in presenting performance. musicals. The first such theater was situated in Hamburg, and development quickly spread to other urban centers According to the dance magazine ballett ü tanz (“What such as the Rhein-Main region, the Ruhr region, Berlin, Dancers Really Earn,” October 2001), at publicly funded and Stuttgart. In 2003, there were 12 stages in 11 the- houses most dancers have contracts of employment that atres, four of which are “independent.” Stage Holding are part of Normalvertrag Tanz (Deutscher Bühnenverein GmbH, a subsidiary of Stage Holding International (based [the association of employers, theatre]) and are roughly in the Netherlands), runs the remaining eight stages. They comparable to the Bundesangestelltentarif (BAT), the contain a total of approximately 17,000 seats. salary scale for federal employees.

Stage Holding GmbH is one of Europe’s leading and most Base salaries for company dancers range from 30 to 51 influential live-entertainment production companies. DEM (U.S. $19–32) per hour.47 There are three different Dancers employed by Stage Holding GmbH generally hold salary groupings (BAT 1a–2b), which depend on a year-long contracts with benefits that include insurance, a dancer’s qualifications, position, and age (amounts indi- fixed work schedule, and paid vacation. Beginners are cate monthly gross income): employed at a monthly gross income of 3,000–3,500 € (U.S. $3,800-$4,400), and dancers with leading parts BAT 2b: 2,649–3,338 DEM (U.S. $1,692-$2,132) start at 4,000 € (U.S. $5,000). On average, 1,000 to BAT 1b: 3,733–3,852 DEM (U.S. $2,384-$2,460) 2,000 musical performers apply, and 30–65 are accept- BAT 1a: beginning at 3,853 DEM (U.S. $2,461) ed for each production. Another source, the Federal Institute of Labour To ensure new generations of “musical dancers,” the Joop (Bundesanstalt für Arbeit), in October 2003 indicated van den Ende Academy was founded in September 2003, that company dancers earn 1,573–1,758 € (U.S. named for the founder of Stage Holding International. The $1,964–$2,195) in gross income per month, which fol- academy is privately funded, and the artistic directors of lows the union rates. These salaries only apply to group current productions make up the school staff. The curricu- dancers. Soloists negotiate their incomes individually. lum is continually adapted to meet the needs of the current productions.

42 http://www.tanztheater-international.de/ 43 http://www.presse-service.de/static/5/53360.html 44 http://www.kampnagel.de/ 45 http://www.mousonturm.de/ 46 Simone Kaczerowski “Musicals in Deutschland”, Pomp Verlag, Bottrop / Essen, 1995; internet research; phone call to Mrs. Simone Linhof, casting director Stage 47 U.S. $1 = 1.57 Deutsche Marks (DEM). Currency conversion: http://www.xe.com/ucc/ Holding GmbH)

PG 138 Making Changes SOCIAL SECURITY DANCE IN GERMANY Social security benefits are available to both company and freelance dancers in Germany. represents the interests of theater dancers, including legal issues, wages, and transition assistance. The organization The German Theatrical Pension Fund (Versorgungsanstalt publishes a yearbook, Deutsches Bühnen-Jahrbuch, and der deutschen Bühnen) is a professional, compulsory a monthly book, Bühnengenossenschaft. benefit and pension fund. Its purpose is to provide members of the theatrical professions employed in German The Deutscher Berufsverband für Tanzpädagogik in Essen theatres with additional old-age retirement funds, occupa- (German dance teachers’ association) is the largest and tional disability, and surviving dependents’ benefits most successful association of stage dance teachers. It through compulsory insurance. Half of the pension contri- supports the education of ballet and dance teachers, butions are paid by the member and half by the insured organizes seminars, offers legal aid to its members, and person and contributions are calculated monthly on the ensures common standards of quality. basis of the insured party’s income. The Conseil International de la danse—UNESCO (CID) is A member of the ballet can receive a lump-sum settle- an independent nonprofit organization that addresses the ment if he or she retires from the theatrical profession aims and objectives of its international umbrella organiza- within the scope of the fund, at the latest at the end of tion. It is especially committed to the areas of dance in the season in which the person turns 40. The dancer education, improving dancers’ social position, and copy- must give credible account that she or he will not work as right issues. a member of a ballet in the future and that she or he will not engage in any other artistic profession for which she The Zentrale Bühnen, Fernseh und Filmvermittlung (ZBF) or he would have to be insured by the fund. is the largest German employment agency for members of artistic and technical professions in theater, musical the- Freelancers can be covered by the “Künstlersozialkasse” ater, movies, and television. The ZBF has agencies in (German Social Security fund for artists). In order to be Bonn, Berlin, Hamburg, Munich, and Leipzig and it advis- admitted to the fund, certain prerequisites must be met es clients and employers on artistic, job-related, and con- including number of appearances, professionalism of the tractual issues. engagement, and the dancer’s income level. A commission decides whether a dancer qualifies for the fund and A major concern of the Society of Dance Research (GTF) the premiums for the pension scheme, health insurance, is dance therapy. and nursing care insurance are calculated according to the dancer’s estimated income for the coming year from The Dachverband Zeitgenössischer Tanz Berlin E.V. helps all artistic jobs. Regular contributions are paid equally by freelance artists gain a platform and to generate more the state and the “users,” such as theaters, festivals and publicity. similar venues. If a dancer’s current average income, for example, were at 10,500 € per year, the expected Choreographisches Zentrum (NRW)—PACT Zollverein in monthly pension would be 95 € (U.S. $118). Essen is supported by the Ministry of City Development and Housing, Culture and Sport of the state of NRW and ASSOCIATIONS AND ORGANIZATIONS the city of Essen. The organization is equipped with studio, rehearsal, and stage facilities and offers wide-ranging Numerous organizations offer a variety of services to technical, organizational, and administrative resources to dancers and other artists in Germany.48 regional artists as well as guests and companies from around the world. The Genossenschaft Deutscher Bühnenangehöriger in Hamburg (dance division of Germany’s stage association) EDUCATION

Dance is not part of education for every German child, 48 Angela Rannow: www.cid-nk.de/kommentar.htm although every major city has private dance studios.

The aDvANCE Project PG 139 Hochschule für Musik, Cologne. The program of study PART TWO: V lasts for two to four years and after exams the dancer receives a diploma in dance as an academic degree. The German association for dance teachers and educators, Bundesverband der Tanzpadagogen, has more than Each of these schools and universities is run by each 700 members. The association aims to train children and state, and like every other public school and university in teenagers to be professional dancers, to teach dance as Germany, funding is public. Students pay only a general physical training, and to teach dance as part of a well- fee between 250 and 400 € (U.S. $310–$560) per half rounded education. year. Boarding costs are an additional expense. If parents are unable to pay, special programs, grants, and scholar- Dance is not part of the general education for every child ships are available. in Germany. Music teachers sometimes expand their programs to include dance lessons, but that is not part of the Some advanced schools and universities also offer addi- regular school curriculum. Private ballet studios and bal- tional education programs. Dresden offers Tanzpädagogik let schools, located in every major city in Germany, teach (dance education) as a four-year stand-alone subject dance for very young children. under the title “Diplom-Tanzpädagoge” (dance-educator, diploma). Mannheim offers a three-year program, Professional dance training is provided in Stuttgart at the Kindertanzpädagogik (dance education to teach children), John Cranko Schule, in Leipzig at the Ballettschule der as part of its main studies. To enter these programs, stu- Opera, and in Hamburg at the Ballettschule der dents must have a degree in education or teaching. At the Staatsoper. These are public boarding schools; pupils live postgraduate level, Dresden offers choreography, which there and pursue the general school program and dance. leads to the title “Graduate Choreographer.” To enter the Children may start at age six or seven and at age ten program, a person must have many years experience Grundausbildung, or basic education, begins. Training dancing onstage. The universities in Cologne and Essen lasts approximately eight years, with students leaving the offer additional studies for Tanzpädagogik (dance educa- school at age sixteen or seventeen. The title awarded to tor). graduates is “Staatlich geprüfter klassischer Tänzer” (government-proved classical dancer) in Stuttgart and TRANSITION “Staatlich geprüfter Bühnentänzer” (government-proved stage dancer) in Leipzig. The level is equivalent to voca- A great number of dancers in theatre companies— tional training for a profession. although not the majority—find employment within the company after transition.49 At the high school level, three schools in Germany provide education for professional dancers: Staatliche Hoschule In Germany, all vacancies within public theaters must be für Musik und Darstellende Kunst, Mannheim, Staatliche offered to staff members before they are published. As a Ballettschule Berlin, and Palucca Schule, Dresden- result, dancers have a chance to find in-house jobs even Hochschule für Tanz. Children in these schools may start if they are not qualified for the positions. In critical cases, at age eight (pre-studies) or 10 (level for orientation). The the decision is taken in favor of the dancer. A survey of general training and education lasts eight years. Berlin the top ballet companies in Germany showed the variety and Dresden provide boarding school facilities; of professions in which former dancers are employed. The Mannheim does not. Graduates from these programs list from the Semper Opera serves as an example: ballet receive a diploma in dance, although it does not represent master/mistress, pianist, masseuse, assistant to the direc- an academic degree. tor, dresser, employee at the visitors’ department, makeup artist, stage manager, secretary to the director. In gen- Three universities in Germany provide post-school profes- eral, only five percent of former dancers are able to work sional dance education, starting at age 18 or 19. In gen- as choreographers, since vacancies are scarce. eral, these schools require university admission (Abitur), but they will accept students with exceptional talent. The universities are: Hochschule für Musik und Darstellende 49 Kunst Frankfur am Main, Folkwang Hochshule, Essen, Angela Rannow and Prof. Markwart, Correspondence CID, 2000–2002.

PG 140 Making Changes Those who do not take jobs with their former employers DANCE IN GERMANY may pursue non-dance-related professions, or they may go back to school. A growing number of former dancers are working in the wellness sector (teaching Pilates, for example) or in health services as dance therapists (teach- DATA FOR GERMANY ing Alexander, Feldenkrais, and similar techniques), as physiotherapists, doctors, and other positions. Overall Information Legend: Two challenges to former dancers in pursuing additional education are described here: Company Size: small = < 20 dancers 1. Some professions and every university in Germany medium = 20 – 40 dancers require a university entrance qualification after 13 years large = > 40 dancers of school. Those who attended a ballet academy with only 10 years of regular school are thereby excluded from fur- Venue Size: ther study or from continuing their education. small = < 500 seats medium = 500 – 1,000 seats 2. Since decisions related to employment are made at the large = > 1,000 seats state level, employment offices throughout Germany decide in different ways whether dancers deserve benefits Location: and support. Some classify dancers according to their for- metro = < 500,000 habitants mer profession and thus they are seen as hardly employ- regional = > 500,000 habitants able in a different sector, some classify them as young and productive, and so on. No universally valid regulation exists.

Information About Dance Companies

Characteristics of Dance Companies in Germany Dance Type: ballet/classical modern/contemporary both musicals not specified 18 16 26 12 20 Over Time: Data not available. Size: small medium large not specified 31 27 12 22 Location: metro regional not specified 50 27 15

Operating Status: 95 % of the dancers work fulltime. Ensembles of the "Freie Szene" are not included. Profit Structure: 76 are not for profit, 16 musicals and entertainment companies are for profit.

The aDvANCE Project PG 141 PART TWO: V

Venues

Characteristics of Venues in Germany Overall: 117 Size: small medium large not specified 8312850 Location: metro regional not specified 46 27 44 Aggregate Capacity: 80,694

Venue Number of Seats Operating Agency

Musical Theater Neuschwanstein 1382 Ludwig Musical AG & Co. KG Musical Dome Köln 1660 Musical Dome Verwaltungs- und Betriebs-GmbH Capitol Theater Düsseldorf 1250 Capitol Event GmbH Starlight Express Theater Bochum 1700 STARLIGHT EXPRESS GmbH Colosseum Theater (Essen) 1500 STAGE HOLDING GmbH Theater im Hafen Hamburg 1500 STAGE HOLDING GmbH Theater Neue Flora Hamburg >1800 STAGE HOLDING GmbH Operettenhaus Hamburg 1387 STAGE HOLDING GmbH Palladium Theater 1800 STAGE HOLDING GmbH Apollo Theater 1800 STAGE HOLDING GmbH Musical Theater Berlin am 1800 STAGE HOLDING GmbH Potsdamer Platz Theater des Westens Berlin 1240 STAGE HOLDING GmbH

PG 142 Making Changes DANCE IN GERMANY

Dancers

Characteristics of Dancers in Germany Overall: 3,190

Dance Type: ballet/classical modern/contemporary musical commercial

No. of dancers 2001/02: 750 2,000 360 80

Over Time: 1990/91 1995/96 2001/02 2,342 3,265 3,190

Sex: male female 40% 60%

Race: German other European African 15% 60% 6%

American Asian Australian 10% 8% 1%

Employment Status: F/T P/T 1,990 1,200

Dancers’ income in Germany These figures are not mean and median data but just examples. Dance type: ballet/classical modern/contemporary musical commercial 1,815 - 2,151 € up to 3,500 € 3,000 - 4,000 € 500 - 1,500 € per evening Employment status: F/T P/T see above up to 250 per evening

1 Euro (€) = U.S. $1.25. Currency conversion: http://www.xe.com/ucc/

The aDvANCE Project PG 143 PART TWO: V

Dance Audience

Attendance for Dance Events in Germany Overall: 1,610,834 Over time: 1990/91 1995/96 2001/02 1,708,593 1,738,462 1,610,834 Percentage of capacity: 70.7% 74.5% 73.0% Figures from Theater Statistic plus 100,000 theatergoers for the "Freie Szene" per year

The average ticket price for season 2001/02 was 17.62 . 1 Euro ( ) = U.S. $1.25. Currency conversion: http://www.xe.com/ucc/

Funding for Dance

Public support for the arts in Germany Source: Arbeitskreis Kulturstatistik, Figures for 2002 Overall: 8.3 billion € Source: federal state cities and communities 844 mill. € 3.8 billion € 3.8 billion € From 2001 to 2002 the expenditure was reduced by 2.9 %. What was the percentage of the national budget spent on the arts in Germany? 0,39% from 2,108 billion € in 2002 = 8.3 billion € 1 Euro (€) = U.S. $1.25. Currency conversion: http://www.xe.com/ucc/

PG 144 Making Changes DANCE IN GERMANY

Education

Educational and training institutions in Germany Overall: Over 700 private and public dance schools (Source: Bundesverband der Tanzpädagogen, Essen) Education with job target "professional dancer": 26 Private schools: 15 Public schools: 10 Vocational schools: 3 Advanced schools: 4 Main studies in dance: 3 The ZBF estimates that 100 dancers per year are leaving schools and universities and looking for jobs. How does Germany define "professional dancer?" There is no official definition of a professional dancer.

Income

What was the percentage box-office income in Germany (for all theatre productions)?

Over time: 1990/91 1995/96 2001/02 13.8% 14.6% 16.1%

What was the subsidy per seat in Germany (for all theatre productions)?

Over time: 1990/91 1995/96 2001/02 63.22 € 85.88 € 96.07 €

1 Euro (€) = U.S. $1.25. Currency conversion: http://www.xe.com/ucc/

The aDvANCE Project PG 145 PART TWO: V

Expenses

What were the personnel costs for ballet dancers? Overall: 1,896,797,000 2001/2001 total costs personel in public theaters

Overtime, dancer 1990/91 1995/96 2001/02 (West-Germany*) 43,297,000 € 68,797,390 € 67,993,000 € Percentage of total expenditure in public theater sector: 4.2% 3.9% 3.6% * Data from East-Germany is not available. 1 Euro (€) = U.S. $1.25. Currency conversion: http://www.xe.com/ucc/

Performances

Number of dance performances per year in Germany Over time: 1990/91 1995/96 2001/02 Performances: 4.953 5,771 5.449 New Productions*: 811 832 834 * including Opera, Operetta, Musical and Ballet

PG 146 Making Changes GERMANY APPENDIX 1: DANCE IN GERMANY DANCE AND THE MEDIA

Over the past few years, the number of dance-related DEMOGRAPHICS FOR GERMANY magazines has declined. Three leading ones still exist: Source: Ballett International/Tanz aktuell, edited by Hartmut U.S. Central Intelligence Agency, The World Factbook, Regitz and Arnd Wesemann, is one of Europe’s leading available at http://www.cia.gov. dance magazines, covering a broad range of dance-related issues. Population: 82,398,326 (July 2003 est.) Ballett Journal/Das Tanzarchiv appears five times a year and includes reviews of ballet and dance theater produc- Government type: tions from a number of ballet centers, such as London, Federal republic with 16 states (Laender, singular— Paris, and New York. Land); Baden-Wuerttemberg, Bayern, Berlin, Brandenburg, Bremen, Hamburg, Hessen, Mecklenburg- Tanzdrama appears six times a year and is published by Vorpommern, Niedersachsen, Nordrhein-Westfalen, the Mary Wigman Gesellschaft e.V. The editors are Dr. Rheinland-Pfalz, Saarland, Sachsen, Sachsen-Anhalt, Hedwig Müller, Dr. Katja Schneider, and Dr. Patricia Schleswig-Holstein, Thueringen. Capital city is Berlin. Stöckemann. GDP per capita: GERMANY APPENDIX 2: purchasing power parity—$26,200 (2002 est.) ONLINE RESOURCES Currency: www.balletcompanies.com 1 Euro (€ ) = U.S. $1.25. www.bournonville.com U.S. $1 = 1.57 Deutsche Marks (DEM). www.criticaldance.com Currency conversion: http://www.xe.com/ucc/ www.cyberdance.org www.danceweb.co.uk www.france-dance.com www.goethe.de/tanzadressen www.impuls.tanz.com www.tanzkalender.de www.tanznetz.de www.tanztheater.de

The aDvANCE Project PG 147 government. There are three state-financed folk dance companies that are based in the capital but perform throughout the country. Those companies have approximately 50 artists, the regional ballet companies consist Part Two: VI of 20–40 members apiece, and most contemporary dance companies are made up of fewer than 15 dancers and are largely situated in the capital. DANCE CULTURAL LANDSCAPE

IN Dance is not afforded the same resources as theater, which has a deep and rich history in Hungary. HUNGARY Within the government’s institutional framework, dance exists under the auspices of the theatrical forms. With the exception of the few state-run classical ballet and folk companies, however, dance is not afforded the same respect, attention, or funding as theater in Hungary. This is especially problematic, since the large majority of funding for dance comes from the public sector, with private-sector financing or sponsorship representing only a ungary is a small country (population 10 mil- fraction of overall budgets. lion) that is very centered around its capital, H Budapest. In 1988, the Hungarian transition FUNDING period began, and in 1990 the Communist Party volun- tarily gave up its autocracy. At that time, a multiparty Over 27 billion HUF (more than U.S.$100 million) is parliamentary democracy came into being, and the spent on the arts each year; and 6 percent of that total Soviet army left Hungary. In the 1990s, the first post- is devoted to dance. Seventy percent of government fund- Communist government transferred the bulk of the coun- ing for dance goes to folk dance; 20 percent to ballet; 50 try’s industrial and trading enterprises, as well as its and 10 percent to modern dance. financial institutions, from state to private ownership. With these systemic changes came a thirst for contem- Classical ballet and some folk dance companies are porary dance, which is now growing in popularity. under the direct auspices of the central government, and regional ballet companies receive significant funding DANCE ORIENTATION from local governments. Most contemporary and modern companies are independent and receive yearly funding Today in Hungary, 74 percent, or 35 of 47, dance com- from the Cultural Ministry and the National Cultural panies are modern/contemporary. Fund. An analysis of cultural funding from 1991 to 1995 reveals the decreasing role of the state: state expendi- Whereas classical ballet and folk dance companies have tures fell from 32 percent in 1991 to 21 percent in 51 a long tradition in Hungary, comtemporary dance compa- 1995. Today, in addition to the central state budget, nies have existed for less than two decades and have not the corporate and nonprofit sectors play an increasing yet developed a stable infrastructure. Hungary’s three role in generating cultural products and services. biggest cities have well-known ballet companies: the Ballet of Pécs, Gyõr, and the Szeged Contemporary Ballet (the latter is independent from the government but receives fixed and project-based funding). The largest 50 HUF = Hungarian forint; U.S. $1 = 217.240 HUF; 1 HUF = US$0.00460320. Information about currency conversion accessed online http://www.xe.com/ucc/ ballet in Hungary, the State Opera House Company, 10/22/03. employs nearly 100 dancers and is fully financed by the 51 Ministry of Cultural Heritage http://www.nka.hu/, accessed 8/20/2003.

The aDvANCE Project PG 149 tution is highly respected, with large numbers of dancers PART TWO: VI who graduate from the course going on to professional careers. Some contemporary dancers are trained at the The largest source for state-financed grants is the Hungarian College of Dance, but smaller private institu- National Cultural Fund. Established by the National tions also offer contemporary techniques. Contemporary Assembly, the National Cultural Fund (Nemzeti Kuturális dancers are trained through workshops conducted by Alapprogram, or NKA) supports “the creation and preser- both Hungarian and international instructors who visit the vation of Hungarian cultural values and their propagation country. Addressing a previous deficiency, basic dance domestically and abroad.” The fund operates under the training has recently been introduced in elementary supervision of the Ministry of Cultural Heritage and dis- school education. In addition, Pécs and Gyõr ballet com- tributes revenues allocated by Law XXIII, passed in 1993, panies have training institutions for dancers at the high also called the “cultural tax.” The cultural tax is imposed school level. on cultural products and services and on “culture-related consumer-electronic goods.” The assets—income from INTERNATIONAL ORIENTATION cultural tax revenues—vary year to year. The National Cultural Fund distributed 3.9 billion HUF in 2000, 4.7 The export of Hungarian dancers is not a major phenom- billion HUF in 2001, approximately 5.7 billion HUF in enon, but rather an exception. Some dancers train outside 2002, and an estimated 6.1 billion HUF in 2003.52 of Hungary, but the large majority return to pursue their careers. Business currently plays a relatively small but growing role in financing culture. Gyõr Ballet, for example, bene- TRANSITION FACILITATION fits from the support of automotive giant Audi and tobac- co producer Phillip Morris. The Soros Foundation, a pri- No specific program for dancers’ career transition exists in vate, independent philanthropic institution, has provided Hungary. support for dance for the past 25 years. In 2002, the Soros Foundation provided 50 million HUF (U.S. The transition process for dancers following their careers $220,000) to help build infrastructure for dance in is much neglected, with few services offered. There have Hungary. However, the foundation is scaling back its been discussions about resolving this problem, but lack of activities in Hungary and as a result is dismantling this funding and general know-how has meant little practical fund. action. Some of the larger state-run companies, like the Honved Dance Company (under the loose auspices of the PUBLIC SUPPORT Defence Ministry) and BM Duna Company (under the loose auspices of the Interior Ministry), have enough Since 1997, Hungarian citizens have been entitled to funding and members and thus offer their artists the pos- allocate 1 percent of their personal income tax to cultural sibility of taking courses totally unrelated to dance (i.e., foundations, national public arts collections or cultural university and other diploma courses). Folk dance compa- institutions. nies have also at times offered alternative training in various fields for their dancers. Thus, the problem for EDUCATION dancers in transition has been resolved somewhat, but only among the heavily state-funded groups. Dancers with There are 10 major dance training institutions in 20 years of active dance experience in these institutions Hungary: five are affiliated with dance companies, four are also able to retire with full pension rights. are publicly funded, and one is private. Contemporary dancers, who make up the fastest-growing sector in dance, are in the least favorable situation, with The most important dance education facility is the few social benefits after their professional life ends. Hungarian College of Dance (Magyar Tancmuveszeti Foiskola). This institution includes ballet, folk, modern, SERVICES FOR DANCERS and ballroom dancing faculties. A degree from this insti- The Hungarian Dance Alliance represents most dance 52 Ibid. institutions and companies in Hungary. The

PG 150 Making Changes Contemporary Dance Association (KTE) provides practical DANCE IN HUNGARY services for dancers and also acts as a lobbying organization for contemporary dance. Number of venues by location DATA FOR HUNGARY 13 Metro venues 6 Regional venues INFORMATION ABOUT DANCE COMPANIES What is the aggregate capacity of these venues? How many dance companies are there in Hungary? 18,492 seats 17 Structurally subsidized dance companies53 30 Projects54 INFORMATION ABOUT DANCERS 47 Total How many dancers are there in Hungary? Number of dance companies by type Approx. 500 Dancers in structurally 35 Modern/contemporary dance companies subsidized companies 7 Classical dance companies Approx. 200 Dancers in projects 5 Folk/indigenous dance companies Approx. 700 Total dancers

Number of dance companies by size (number of Number of dancers by dance type dancers) Approx. 250 Classical dancers 8 Small dance companies (< 20 dancers) Approx. 250 Folk/indigenous dancers 4 Medium-sized dance companies (20–40 dancers) Approx. 200 Modern/contemporary dancers 5 Large dance companies (> 40 dancers) 30 Projects (< 20 dancers) What is the average dancer’s income per month by dance type? Number of dance companies by profit structure Ballet dancers 100,000–120,000 HUF All dance companies are not-for-profit. U.S. $430-$515 Folk/indigenous dancers 60,000–80,000 HUF INFORMATION ABOUT VENUES U.S. $260-$345 Modern/contemp. dancers 60,000–80,000 HUF In Hungary, three types of theaters are used for dance U.S. $260-$345 performances:

4 Showcase independent dance and theatre INFORMATION ABOUT DANCE EDUCATION companies (by invitation) 8 Regularly present dance performances How many schools for dance education are found in 6 Specifically feature dance performances Hungary? 18 Total full-time and part-time theater buildings 4 Publicly funded (some with more than one auditorium) 1 Privately funded 5 Total dance schools Number of venues by size 6 Small venues (< 150 seats) What levels of dance education are offered in Hungary? 7 Medium-sized venues (150–900 seats) Hungarian College of Dance offers college diplomas in: 4 Large venues (> 900 seats) • Ballet • Folk dance • Ballroom dance • Modern dance 53 Structurally subsidized companies receive permanent or regular annual subsidies • Dance theory from the state. 54 Projects are grants that are disbursed on a one-time basis and have no long-term • Choreography implications.

The aDvANCE Project PG 151 58 PART TWO: VI 1998 1.30% of national budget devoted to culture

Funding for dance in 2003: Midlevel dance education is offered at these schools: Overall 2.1 billion HUF (U.S. $9.7 million) • Gyõr Artistic Trade School Cultural Ministry 1.4 billion HUF (U.S. $6.5 million) • Pécs Artistic Trade School National Cultural • Budapesti Angelus Iván—Modern Dance Fund 215 million HUF (U.S. $990,000) • Földi Béla Company (private) Local government 15.4 million HUF (U.S. $71,000)

Elementary dance education is offered at the Artistic 2003 funding by dance type: General School in these areas: Folk 965.0 million HUF (U.S. $4.4 million) • Folk dance Ballet 938.5 million HUF (U.S. $4.3 million • Ballroom dancing Modern/contemp. 139.4 million HUF (U.S. $640,000) • Ballet • Modern dance (basic training only; no certificate) 2003 funding for dance by source: National 1.4 billion HUF (U.S. $6.5 million) What is the average age dancers begin training in Local 236.9 million HUF (U.S. $1.1 million) Hungary? National Cultural 10 years old Ballet dancers begin training Fund 215.0 million HUF (U.S. $1.0 million) 14 years old Folk and contemporary dancers begin training 16 years old Professional training begins DEMOGRAPHICS FOR HUNGARY

What is the average length of time a dancer trains in Population: Hungary? 4–7 years 10,045,407

What is the average age of a dancer’s first engagement Source: U.S. Central Intelligence Agency, The World in Hungary? 18–20 years Factbook, available at http://www.cia.gov.

Average age of dancers’ first engagement according to Mean monthly salary: dance type 100,000 HUF (US$460) 18 Average age of first classical dance engagement Cost of Living (COL) Index: 18–22 Average ages of first modern/contemporary A basket of goods and services that costs U.S.$100 in the dance engagement United States would cost U.S.$80 in Hungary. Source: Expat Forum INFORMATION ABOUT FUNDING FOR DANCE http://www.expatforum.com/Resources/icol.htm

What is the total amount of funding for the arts in Hungary? 2001 27.1 billion HUF (U.S. $125 million)55

What percentage of the total national budget is devoted to culture? 1994 2.10% of national budget devoted to culture56 1996 1.98% of national budget devoted to culture57

55 Hungarian Central Statistical Office (KSH) 58 56 Hungarian Ministry of Cultural Heritage, The big decline in 1998 resulted from the transformation of national broadcasting www.nkom.hu/english/miniszterium/financculture.shtml. Accessed 8/20/03. institutions into corporations. Hungarian Ministry of Cultural Heritage, 57 Ibid. www.nkom.hu/english/miniszterium/financculture.shtml. Accessed 8/20/03.

PG 152 Making Changes SOURCES DANCE IN HUNGARY Unless otherwise noted, sources for information about dance in Hungary are as follows:

Information about dance companies: Hungarian Theatre Museum and Institution Hungarian Táncmûvészek Alliance Hungarian Contemporary Dance Alliance Hungarian Cultural Ministry http://www.nkom.hu

Information about venues: Hungarian Táncmûvészek Alliance Fõvárosi Önkormányzat (Budapest City Hall) http://www.budapest.hu/

Information about dancers: Hungarian Táncmûvészek Szövetsége (Hungarian Dance Artists Association) Contemporary Dance Alliance Alternative Folk Dance Alliance Dance group of the Interior Ministry

Information about income: Information provided by professional dancers

Information about funding: Hungarian National Cultural Fund http://www.nka.hu/ Hungarian Cultural Ministry http://www.nkom.hu Fõvárosi Önkormányzat (Budapest City Hall) http://www.budapest.hu City of Pécs http://www.pecs.hu/ City of Szeged http://www.tiszanet.hu/polghiv City of Miskolc http://www.miskolc.hu/ City of Gyõr http://www.gyor.hu Central Statistics Office http://www.ksh.hu/

Information about education: Hungarian Táncmûvészek Szövetsége (Hungarian Dance Association)

Information about first engagement, length of training: Information provided by professional dancers Personal knowledge

The aDvANCE Project PG 153 DANCERS

Compared with other Japanese performers, dancers have the lowest incomes, the longest training periods, high Part Two: VII levels of personal expenses, high chances of injury, and few opportunities to perform.

DANCE According to the 6th Survey on Performers’ Living Conditions and Situations in Japan (2000) [The Performers’ Survey 2000]60, dancers in Japan earn less IN than other performers. Most dancers pay for their own lessons, shoes, dance clothes, and health care. In some JAPAN cases, they even pay for their costumes, ticket quotas, and appearance fees. According to The Performers’ Survey 2000, the average total personal expense for dancers was over 800 thousand yen (¥) (approximately U.S.$6,700) annually.61 This was the highest such expense among performers in the country. In spite of these difficulties, many people still want to become dancers. When asked, “What made you become a professional performer,” “desire to perform” was the most ancers in Japan suffer from a lack of private and frequent answer among dancers according to The 62 public support. Kabuki, a base of Japanese clas- Performers’ Survey 2000. D sical dance, has been prohibited many times over the past 400 years; and Butoh has been under- DANCER ATTRIBUTES ground since it began. Today, both forms of dance are treated as high arts and it is possible to achieve success Seventy-seven percent of Japanese dancers are female as a dancer in Japan if one is talented, makes an effort, and over 50 percent are Japanese classical dancers. and is supported economically by one’s family and by the world dance community. But it is not easy to achieve DANCE COMPANIES, PERFORMANCES, AND consistent success as a company without systematic VENUES support from both the public and private sectors. Therefore, talented young dancers tend to go abroad to Each of the top ten dance companies in Japan does become professional dancers and make a decent living. fewer than 20 performances per year. In addition, many Japanese dancers are forced to work in other fields to support themselves financially. Most dance companies in Japan are centered around the founder and do not have legal status. This makes it diffi- Since the mid-1980s, dance has become more popular cult to get an overview of the dance field in the country. than ever before in Japan. This is evident in the recent Dance companies that do have legal nonprofit status are boom of disco clubs; the appearance of new categories of Star Dancers Ballet Company, Maki Asami Ballet dance music in major foreign record shops such as Tower Company, Inoue Ballet, The Matsuyama Ballet and NBA Records, HMV, and Virgin; the hit Japanese movie Shall Ballet Company. We Dance? featuring ballroom dancing; video games 63 using dance; and the increasing appearance of ballet According to the Performing Arts Data Book 2001 , stars on TV and in other media. there are at least 4,462 dance performances per year, including 547 performances by foreign companies.

60 Geidankyo, 2000b. 61 U.S. $1=123 yen (¥). 62 Ibid. 63 Geidankyo, 2000a.

The aDvANCE Project PG 155 The “Arts Plan,” started by the national Agency for PART TWO: VII Cultural Affairs (ACA), provides three-year continuous subsidies for three or four leading companies in each Among domestic performances, 60 to 80 percent are stu- field. Although the ACA budget has increased over the last dent performances or individual recitals. Typically, each several years, it remains approximately 0.1 percent of the domestic dance performance is performed only once or national budget. Seventy-five percent of the ACA budget twice. An exception, however, involves the four Japanese goes to protection of cultural heritage. As for local govern- classical dance revues that are tied to the tourism indus- ments’ cultural budgets, 80 to 90 percent goes for con- try, with 10 or more performances given in Kyoto each struction or maintenance of theatre facilities. In the past spring and autumn. few years, as the ACA budget has increased, support from local governments has decreased. Only a few dance companies own space to perform or are affiliated with their own theaters. Instead, most dance PRIVATE SUPPORT companies rent space from commercial venues and public (government) theaters. A few unique venues for dance Even though the average dancer’s personal income is the were created during the last decade, including ST Spot lowest among artists, dancers’ household income is high, and Session House, which focus on contemporary dance. placing them in the upper class of Japanese society. These venues, founded individually or operated by private organizations, have become important information cen- Private resources for dance in Japan are limited as well. ters for dancers and choreographers—places where they There are 22 foundations that provide support for dance, can gather and distribute fliers, take workshop classes, only one of which supports operating expenses for dance and see experimental performances. companies; 58 corporations provide support for dance. In total, corporate support benefits 5.5 percent of dance pro- AUDIENCES grams. No official survey data illustrate the conditions of individual support for the arts. However, some argue that Audiences tend to be disproportionately female and com- individual subsidies are low in Japan because of heavy posed of people who have had dance lessons. In fact, one progressive taxation and limited tax deductions. In of Japan’s largest dance festivals, the World Ballet response to this, performers or their families often pay for Festival, had to change some of its men’s restrooms to their training and in some cases their performance activi- women’s restrooms to combat long lines. ties after they become professionals. The Performers’ Survey 2000 reports that even though the average GOVERNMENT FUNDING dancer’s personal income is the lowest among all artists, dancers’ household income is high, placing them in the 86 percent of support for the arts in Japan comes from upper class of Japanese society.64 local governments; only 0.1 percent of the national budget is devoted to the arts. EDUCATION

In Japan, public resources for the performing arts are lim- The New National Theater Ballet started a training pro- ited. In 2000, local government support for the arts gram in 2001 and is the first public dance school in totalled 660,236 million ¥ (U.S. $5,368 million), com- Japan. pared with 104,344 million ¥ (U.S. $848 million) in support from the national government. In 1990, the national Although there has long been a need for one, no public government and corporations founded the Japan Arts dance school existed until the New National Theater Fund to provide subsidies for the arts. It supports both Ballet created the Training Program for Ballet Dancers in professionals and amateurs in all kinds of arts but tends 2001. This is the first public school for dance, with seven to provide subsidies for smaller, local companies and local Japanese students over age 17. The dancers study clas- government theatres. One of the problems is that for a sical ballet technique as well as modern and contempo- company to qualify for a subsidy, it must be running a deficit. Companies cannot receive subsidies for working 64 Geidankyo, 2000b expenditures.

PG 156 Making Changes rary dance, flamenco, and more. There are, however, DANCE IN JAPAN many private dance institutes throughout Japan. According to The Performers’ Survey 2000, on average, over 80 students were enrolled in each institution. Many tions and schools that will accept retiring players. This of these schools provide small classes for local stu- may provide a model to aid dancers in career transition. dents.65 Some examples of Japanese service organizations for Keiko-goto—the culture of taking lessons in music, callig- dancers include All Japan Children’s Dance Association; raphy, dance, and the arts—was popular in the Edo peri- Contemporary Dance Association of Japan; Japan Ballet od (17th–18th centuries) and continues today. Ballet and Association; The Japanese Classical Dance Association, modern dance, which were imported in the early 20th Inc.; Japan Contemporary Dance Network (JCDN); Japan century, have also become part of keiko-goto culture. Flamenco Association; Japanese Federation of Dancing There are over 10,000 private dance schools today. Most Artists; Jazz Dance Arts Association; and Tokyo Ballet were founded individually and include ballroom dancing. Association. The lack of structure in this system has not only contributed to the popularization of dance but has also creat- Recently, the JCDN has been recognized as a new type of ed difficulty in distinguishing true professionals. nonprofit organization in the arts field. The founder (who studied at Dance Theater Workshop in New York City) According to the 1995 population census, there are organized not only independent contemporary dance 6,400 dancers and dance teachers in Japan.66 Since artists but also owners of dance spaces, writers, presen- there is no qualification system, dancers can easily ters, and people in charge of sponsorship in corporations. become teachers without special training and with no The JCDN has made efforts to present contemporary teaching or performance experience. Because of this, emerging artists through touring and on-line ticketing, to many opportunities to study dance are available. provide opportunities for diverse discussions about dance, However, the lack of teacher training has increased teach- to advocate dance to the public, and to create opportuni- ing of incorrect technique and the risk of student injuries. ties for young critics to gain experience. Recently, some part-time seminars have been offered to allow teachers to study anatomy, teaching, and other basic skills. But these are only available to a few teachers. Many teachers are still left without proper knowledge about the dancer’s body.

CAREER TRANSITION

Although Japan has no support program for dancers’ career transitions, J-League, Japan’s professional soccer league, offers “Career Support Center”—an interesting model for career transition.

Like dancers, soccer players become professionals in their late teens and retire during their thirties or earlier. J- League’s “Career Support Center” provides information about former soccer players who have made successful transitions to other jobs. Some have transitioned to soccer-related careers, and others have gone on to different kinds of jobs. J-League also raises players’ awareness by providing seminars and brochures, and it seeks corpora-

65 Ibid. 66 Statistics Bureau, 1995.

The aDvANCE Project PG 157 What is the dancer’s annual income by type of employ- PART TWO: VII ment? 1.7 million ¥ (U.S. $13,959) Income from teaching DATA FOR JAPAN 1.1 million ¥ (U.S. $8,707) Income from other jobs 439,000 ¥ (U.S. $3,569) Income from performance INFORMATION ABOUT DANCE COMPANIES 170,000 ¥ (U.S. $1,382) Income from other dance jobs 73 How many dance companies are there in Japan? 1,121 Dance companies overall What is the dancer’s annual income by dance type? 594 Regional dance companies 3.7 million ¥ (U.S. $30,211) Mean income for Japanese 527 Metropolitan dance companies67 classical dancer 2.5 million ¥ (U.S. $20,325) Median income for Japanese INFORMATION ABOUT VENUES classical dancer

How many venues are there in Japan? 3.7 million ¥ (U.S. $29,683) Mean income for ballet 3,736 Venues including government and dancer commercial theaters, independent spaces, 2.5 million ¥(U.S. $20,352) Median income for ballet and live performance houses dancer 2,753 Regional venues 983 Metropolitan venues 2.6 million ¥ (U.S. $21,244) Mean income for modern dancer What is the aggregate capacity of these venues? 2.5 million ¥ (U.S. $20,325) Median income for modern 2,635,59968 dancer 74

INFORMATION ABOUT DANCERS What is the dancer’s annual income over time?

How many dancers are there in Japan? 1989 6,400 Dancers including dance teachers69 3.7million ¥ (U.S. $30,967) Income for Japanese 11,080 Dancers including amateurs but not classical dancers including commercial or contemporary, 3.0 million ¥ (U.S. $24,041) Income for ballet and independent dancers70 modern dancers

Number of dancers by dance type 1994 5,585 Japanese classical dancers 3.5 million ¥ (U.S. $28,650) Income for Japanese 2,829 Modern/contemporary dancers classical dancers 2,583 Ballet/classical dancers71 3.4 million ¥ (U.S. $27,618) Income for ballet and modern dancers Number of dancers by sex 4,900 Female dancers (77%) 1999 1,500 Male dancers (25%)72 3.8 million ¥ (U.S. $30,911) Income for Japanese classical dancers What are the mean and median of dancers’ annual 3.2 million ¥ (U.S. $25,642) Income for ballet and income in Japan? modern dancers75 3.4 million ¥ (U.S. $27,618) Mean dancers’ income 2.5 million ¥ (U.S. $20,325) Median dancers’ income

67 Geidankyo, 1996. Figures include dance companies and schools. 68 Geidankyo, 2000a. 73 69 Statistics Bureau, 1995. Geidankyo, 2000b. Figures include only members affiliated with organizations 70 Geidankyo, 2000a. under Geidankyo, including teachers and amateurs. Average Japanese worker’s salary 71 Geidankyo, 2000b. Figures include only members affiliated with organizations under is US$41,856; U.S. $1=123 yen (¥). 74 Geidankyo, including teachers and amateurs. Ibid. 75 72 Statistics Bureau, 1995. Ibid.

PG 158 Making Changes What is the dancer’s annual income by sex? DANCE IN JAPAN 5.9 million ¥ (U.S. $47,764) Male Japanese classical dancers’ income 4.2 million ¥ (U.S. $34,417) Male ballet and modern INFORMATION ABOUT DANCE AUDIENCES dancers’ income How many people attend dance events in Japan? 3.3 million ¥ (U.S. $26,613) Female Japanese 4,072,200 people According to the Peforming classical dancers’ income Arts Data Book 2001 3.1 million ¥ (U.S. $24,868) Female ballet and modern 11,300,00 people According to the Leisure White dancers’ income76 Paper 2000.81 911,00 people According to the Performing What is the mean age at which dancers begin training in Arts Data Book 1999.82 Japan? 17.3 Mean age dancers begin training How many people attend dance events in Japan by 13.7 Mean age ballet and modern dancers dance type? begin training 1,432,900 Seats for ballet dance events 21.3 Mean age Japanese classical dancers 1,260,300 Seats for Japanese classical dance begin training77 events 473,800 Seats for modern/contemporary What is the mean age at which dancers have their first dance events engagement in Japan? 484,000 Seats for folk/ethnic dance events 26.8 Mean age of dancers’ first engagement 424,200 Seats for other dance events83 23.5 Mean age of ballet and modern dancers’ first engagement How many people attend dance events in Japan over 30.5 Mean age of Japanese classical time? dancers’ first engagement78 4,086,758 Seats offered in 1997 4,012,900 Seats offered in 1998 What is the mean length of time dancers train in Japan? 4,072,200 Seats offered in 199984 9.6 years Mean length of dancers’ training 9.7 years Mean length of ballet and modern What percentage of the Japanese population attends dancers’ training dance events? 9.2 years Mean length of Japanese classical In 1997, 2.7% of Japanese people attended dance dancers’ training79 events85

What is the mean duration of dancers’ dance experience What is the average expenditure on dance per person in in Japan? Japan? 31.4 years Mean duration of dancers’ experience 183,800 ¥ (U.S. $1,494) 28.9 years Mean duration of ballet or modern dancers’ experience Average expenditure on dance per person in 199986 34.6 years Mean duration of Japanese classical 222,800 ¥ (U.S. $1,811) Average expenditure on dancers’ experience80 dance per person in 199587

81 Figure includes people who attend both dance and drama performances. 82 Figure only includes metropolitan areas. 83 Geidankyo, 1997. Figures reflect number of seats offered, not actual audience members. 84 Ibid. 85 Ibid. Figures include ballet, modern/contemporary, and Japanese classical dance 76 Ibid. events in metropolitan areas only. 86 77 Ibid. Institute for Free Time Design, 1999. Figure includes dance and drama atten- 78 Ibid. dance expenditures. 87 79 Ibid. Institute for Free Time Design, 1995. Figure includes dance and drama atten- 80 Ibid. dance expenditures.

The aDvANCE Project PG 159 INFORMATION ABOUT DANCE EDUCATION PART TWO: VII How many education and training institutions are there 167,000 ¥ (U.S. $1,359) Average expenditure on in Japan? dance lessons 11,247 Total number of education and training 16,700 ¥ (U.S. $136) Average expenditure on institutions for dance dance performances88 11,247 Private educational and training institutions for dance INFORMATION ABOUT FUNDING FOR DANCE 11,237 Dance schools 3 High schools for dance What is the amount of public support for the arts in 7 College/university programs for dance94 Japan? 764,580 million ¥ (U.S. $6,216 million) Government support (total) 104,344 million ¥ (U.S. $848 million) National government support (14%) 660,236 million ¥ (U.S. $5,368 million) Local government support (86%)89

What percentage of the national budget is spent on the arts? 0.1% of the national budget is spent on the arts.90

What is the amount of private support for the arts in Japan?91 18.3 billion ¥ (U.S. $149 million) Private support in 2000 21.5 billion ¥ (U.S. $175 million) Private support in 1998 16.8 billion ¥ (U.S. $137 million) Private support in 1996

What is the amount of private support for dance in Japan? 5.5% of dance programs benefit from private support.92 22 foundations provide support for dance 58 corporations provide support for dance93

88 Ibid. Figure for performances includes drama and dance expenditures; figure for lessons includes ballroom dance and aerobics lessons. 89 The Agency for Cultural Affairs (ACA), 2000; Japan Foundation’s Annual Report, 2000; the Japan Foundation for Regional Art-Activities Newsletter, 2000. National support comes from the Agency for Cultural Affairs, Japan Arts Fund, the Japan Foundation for Regional Art-Activities, and Japan Foundation. 90 ACA, 2002. 91 Association for Corporate Support for the Arts, 2002. Figures include only corporations surveyed by the Association for Corporate Support. In 2000, the association 94 Geidankyo, 2000a. Figures include educational facilities for ballroom dance. In surveyed 265 corporations. 2000 there were no public educational facilities for dance; in 2003 there was one 92 Ibid. public educational facility, the New National Theater Tokyo. 93 Ibid.

PG 160 Making Changes DEMOGRAPHICS FOR JAPAN DANCE IN JAPAN Unless otherwise noted, source for Japan demographics is: http://www.west.net/~wwmr/japan.htm SOURCES

Population: Agency for Cultural Affairs (ACA), 2000. 125,214,499 (Source: U.S. Central Intelligence Agency, http://www.bunka.go.jp/english/2002-index-e.html The World Factbook, available at http://www.cia.gov.) Association for Corporate Support of the Arts. Mecenat Currency: White Paper. Tokyo: 2000. http://www.mecenat.or.jp Yen (¥) Geidankyo. Performing Arts Data Book 1997. Tokyo: Average Japanese worker’s salary: 1996. http://www.geidankyo.or.jp U.S. $41,856 Performing Arts Data Book 1999. Tokyo: Exchange rates: 1997. U.S. $1 = 123 ¥ Performing Arts Data Book 2001. Tokyo: Government type: 2000a. Constitutional monarchy The 6th Survey on Performers’ Living Budget: Conditions and Situations in Japan [The Performers’ Revenues: U.S. $463 billion Survey 2000]. Tokyo: 2000b. Expenditures: U.S. $809 billion, including capital expenditures (public works only) of about U.S. $94 billion Institute for Free Time Design. Leisure White Paper (FY00/01 est.) 1996. Tokyo: 1995.

Cost of Living: Leisure White Paper 2000. Tokyo: 1999. Worldwide cost of living survey 2003—city rankings London, 16 June 2003 Japan Foundation. Annual Report, 2000. Tokyo: 2000. http://www.jpf.go.jp/ “Tokyo has replaced Hong Kong as the world’s most expensive city, according to the latest cost of living sur- Japan Foundation for Regional Art-Activities. Newsletter, vey by Mercer Human Resource Consulting. With New 2000. Tokyo: 2000. York as the base city scoring 100 points, Tokyo scored http://www.jafra.nippon-net.ne.jp/english/ 126.1 points and is almost three-and-a-half times cost- lier than Asuncion, which has an index of 36.5 points.” Statistics Bureau. Population Census, 1995. Tokyo: 1995. http://www.stat.go.jp Source: Mercer Human Resource Consulting http://www.mercerhr.com/pressrelease/details.jhtml/dyna mic/idContent/1096495

The aDvANCE Project PG 161 indigenous dance has not been included in the country profile. Part Two: VIII CHARACTERISTICS OF DANCERS México is a country of classical, contemporary, folkloric, flamenco, Indian, Greek, capoeira, urban, danzon, tango, DANCE jazz, Arabic, belly and theater dancers; the majority are “mestizos,”95 and 80 percent are women.96

IN The number of dancers in México has increased in the past two decades; however, the precise number is MÉXICO unknown. Approximately 160 people are working in federal- and university-subsidized companies, whereas the number working in independent dance companies is unknown. Various sources suggest the number of dance professionals working in México today: according to the Centro Nacional de Investigación y Documentación de la Danza “José Limón” (CENIDI-Danza, National Center for Research and Documentation of Dance “José Limón”), there are 581 people in the dance sector (excluding he Meso-American cultures are the roots of the some dance teachers); and the virtual magazine Artes e history of dance in México. Spanish missionaries Historia de México has a database of 257 dance profes- 97 T imported popular European dances during the sionals. period of colonization, threatening the existence of traditional religious dances. In some regions of México, tradi- Since the early 1990s, the number of men attending pro- tional dance has survived with different levels of fessional dance schools has decreased notably. In 1995, European influence, whereas in other provinces, folkloric the Academia de la Danza Méxicana (Méxican Dance European dances were cultivated as regional dances and Academy) of the Instituto Nacional de Bellas Artes have remained popular. In 1910, the Revolution came to (INBA, National Institute of Fine Arts) registered 200 98 an end, fostering a political and cultural nationalist women and only seven men. Many institutions have movement that embraced the arts. In 1932, the first therefore created special programs for male dancers. national dance school was started by two Méxican dancers, Nellie and Gloria Campobello; and in 1939 two DEFINITION OF DANCER American dancers, Ana Sokolow and Waldeen, arrived in México and gave dance a new impulse. These and other According to INBA, a dancer is someone with a codified American contemporary dancers such as José Limón, body movement method and language that allows his Doris Humphrey, and Xavier Francis greatly influenced body to express an idea or concept. subsequent generations of dancers and choreographers in México. CONCENTRATION OF COMPANIES

Today, there are an estimated 2,000 principal indigenous The number of dance companies has increased in the dances throughout the country, each with innumerable past 30 years, particularly in contemporary and folkloric variations. Dance is a ritual activity among indigenous dance, and the majority of companies are located in people; it is a means to access a sacred world. The México City. Western definition of dance does not exist as such in the 95 “Mestizo” is a term used to define the mix of indigenous and Spanish blood. indigenous world; for some communities dance is game, 96 Information provided by the National Coordination of Dance through the Federal Law for Transparency. for others, celebration or commitment. It is not consid- 97 Artes e Historia, accessed on 07/30/03. ered a profession, thus there is no retirement. Therefore, 98 Quintos, 2002.

The aDvANCE Project PG 163 support. The government gives public venues funds for PART TWO: VIII operating costs, publicity, and honoraria for the artists. Independent dance companies often benefit from govern- Although it is not known exactly how many dance compa- ment subsidies to public venues in which they perform. nies exist in México today, data from various sources provide a general understanding of the scope of the dance Private donations to the arts are rare in México, and there sector: in 1990, approximately 41 independent organiza- are no tax incentives to encourage corporate or individual tions applied for support from INBA;99 in 2002, the giving. Some dance companies have sought financing Coordinacion Nacional de Danza (National Coordination from corporations such as TelMéx, Pascual Boing, and of Dance) estimated that there were 150 dance compa- Coca-Cola.103 Others have sought funding from the BBVA nies (145 independent and five with official subsidy)100 Bancomer Fund to Support the Arts of the BBVA and approximately 40 eventual groups;101 and the dance Bancomer Foundation, which in 2001 supported interna- website http://www.danza.com.mx has a database of 81 tional contemporary dance performances at the Centro dance companies—30 in México City and 51 outside Cultural Los Talleres A.C. Another example of private México City—the majority of which (70 percent) are folk- sponsorship is the Ballet Folklórico de México de Amalia loric, and 20 percent are contemporary. Hernández, which recently received an award of $250,000 pesos (U.S. $25,000104) from the Fundación FINANCING México Unido.

Federal, state, and city governments; nonprofit organiza- SUPPORT ABROAD tions; foundations; and some corporations all contribute to arts funding, but the overwhelming majority of support The Méxican government subsidizes dancers and chore- comes from the federal government.102 ographers to study and perform abroad. Funding is provided by the International Affairs Ministry, International Dance companies in México can be categorized as pub- Affairs Office of INBA, the Program to Support Studies licly funded or independent companies. There are five fed- Abroad of FONCA, and treaties with various countries. erally funded dance companies in México, four based in México City and one in Queretaro; and they receive fund- WAGES AND BENEFITS ing directly from INBA. Three of the five subsidized companies are contemporary, including Ballet Nacional de Subsidized dancers earn $600 (U.S. $60) to $20,000 México, Ballet Teatro del Espacio, and Ballet (U.S. $2,000) pesos per month plus benefits, whereas Independiente; one is classical, Compañía Nacional de independent dancers earn only $500 (U.S. $50) to Danza; and one is folkloric, Compañía Nacional de Danza $1,500 (U.S. $150) pesos per performance. Folklórica. Each company is made up of 20–70 full-time dancers and is legally registered as a nonprofit organiza- Depending on the company, there are full-time dancers, tion, with attributes similar to an American nonprofit, or part-time dancers, and those who work on specific proj- 501(c)(3), organization. In addition, there is an undeter- ects. Subsidized companies offer the best jobs; however, mined number of state-funded companies. a limited number of subsidized jobs are available, and the wages and benefits vary. In 2002, a contemporary Independent companies are those organizations with no dancer’s salary in a subsidized contemporary dance com- regular government support. They are usually made up of pany ranged from $600 pesos (U.S. $60) to $6,500 five to eight members including choreographers, stage pesos (U.S. $650)105 per month, whereas a classical designers and dancers. Grants are the most common type dancer in the Companía Nacional de Danza106 was paid of funding for these organizations in addition to sporadic $8,000 pesos (U.S. $800) to $13,000 pesos (U.S. private sponsorship, personal funds, and other types of $1,300) per month plus a quarterly bonus ranging from

99 Cardona and Ramos, 2002a. 103 National Coordination of Dance through the Federal Law for Transparency. 100 Camacho, working paper. 104 U.S. $1 = $10 pesos 101 Eventual groups are defined as groups of dancers that work together for a specif- 105 Ibid. ic event and then disintegrate. This happens more frequently in commercial dance. 106 Companía Nacional de Danza is the only classical dance company subsidized by 102 Iberoamerican States Organization for Education, Science and Culture, 06/08/03. the National Insitute of Fine Arts.

PG 164 Making Changes $15,000 pesos (U.S. $1,500) to $20,000 pesos (U.S. DANCE IN MEXICO $2,000). These dancers’ benefits also include food coupons and extra pay for work on Sundays.107 All dancers working in the subsidized companies have Social Nacional de las Artes (CENART, National Center for the Security and a retirement bonus equal to one month’s pay Arts), and the Direccion de Vinculación y Ciudadanización per year of work. (General Office for Arts and Culture in the States),109 among others. In 1998, CONACULTA presented 1,110 Salaries for dancers working in independent dance com- dance performances110 and 110 artistic and cultural fes- panies are very irregular: payments per performance tivals, provided over 1,000 grants for artistic creation, range from $500 pesos (U.S. $50) to $1,500 pesos and organized 422 educational and research classes and (U.S. $150). Furthermore, dancers working for independ- workshops. In 2000, CONACULTA launched the ent companies do not receive benefits. In the past ten Programa Nacional de Cultura 2001-2006 (PNC, years, these issues have been raised, as important figures National Program for Culture) to “foster education, cre- in the Méxican dance community such as Xavier Francis, ation and the promotion of arts and culture for all Cora Flores, and Isabel Hernández have faced serious Méxicans.”111 The 2003 PNC budget was $5.8 billion health problems and difficult economic situations. No pesos (U.S. $580 million.) solution has yet been found. INBA, created in 1946 and based in México City, man- CULTURAL INFRASTRUCTURE ages three national companies of dance, opera, and theater; two orchestras; and fourteen museums. INBA also The Secretaría de Educación Pública (SEP, Ministry of organizes, promotes, and develops national artistic edu- Public Education), a federal ministry, develops cultural cation programs. INBA’s Subdireccion General de Bellas policy and finances the cultural infrastructure in México. Artes (General Department of Fine Arts ) oversees four art organizations including the Coordinación Nacional de Founded in 1921, SEP finances the Universidad Nacional Danza (CND, National Dance Coordination). In 2003, Autónoma de México (UNAM) and the Consejo, Nacional INBA’s total budget for cultural, artistic, and sports pro- para la Cultura y las Artes (CONACULTA), which consti- motion was $630 million pesos (U.S. $63 million), and tute the heart of the cultural infrastructure in México (see the education budget was $400 million pesos (U.S. $40 infrastructure charts below). million).112

The UNAM promotes cultural and artistic activities FONCA was created in 1989 and is located in México through its Coordinación de Difusión Cultural (Office for City. FONCA has been the major grants provider for the Cultural Promotion). This office oversees the Dirección de arts since 1989. The organization also offers “Special Danza (Direction of Dance), in charge of all dance-related Funds,” a special financing mechanism that extends tax activities and of the Taller Coreográfico, the only universi- exemption forms to sponsors. In addition, FONCA also ty-subsidized dance company in México. UNAM is home provides support to dance through special projects, festi- to the Centro Cultural Universitario (University Cultural vals, classes, and workshops. In 1995, FONCA’s budget Center) with two concert halls and four theatres, includ- for the performing arts was $25 million pesos (U.S. $2.5 ing one built exclusively for dance, the Sala Miguel million), and in 2002, the budget had doubled to $53 Covarrubias. million pesos (U.S. $5.3 million). The 1995 budget for dance was $3 million pesos (U.S. $300,000), and by The CONACULTA (National Council for Culture and Arts ) 2002, it had grown to $12 million pesos (U.S. $1.2 mil- was founded in 1988 to promote art and culture in lion).113 In recent years, 64 percent of funds were allo- México.108 CONACULTA oversees several organizations cated to artists based in México City. including INBA, Fondo Nacional para la Cultura y las 109 The office provides funds to the states, acts as a liaison between regions, and artes (FONCA, National Fund for Culture and Arts), Centro encourages partnerships among them. 110 In 1998, CONACULTA realized 3,942 theater activities—three times the number of dance events during the same year. Iberoamerican States Organization for 107 Interview with Irma Morales, First Dancer of the Companía Nacional de Danza, Education, Science and Culture, 06/08/03. 111 08/21/03. Méxican Federal Government, 2001. 112 108 Iberoamerican States Organization for Education, Science and Culture, 06/08/03. Méxican Federal Government, 07/31/2003b. 113 FONCA, 08/19/03.

The aDvANCE Project PG 165 ly, attended the six schools for professional studies in PART TWO: VIII dance.117

CENART, located in México City and created in 1994, is Six state universities also offer undergraduate studies in home to 4 national art schools, including INBA's National dance performance: the Universities of Veracruz, Puebla, School for Classic and Contemporary Dance; 4 research Sonora, Nuevo Leon, San Luis Potosi, and Queretaro. The centers, including CENIDI-Danza; and 17 performance University of Veracruz is the oldest and most prestigious spaces, including two built exclusively for dance. Each of these institutions.118 year, more than 900 dancers perform in the CENART, the majority of whom are contemporary dancers (around DANCE VENUES AND ATTENDANCE 700), followed by folk dancers (120), flamenco dancers (60), and ballroom dancers (60). Nearly 50 percent of venues for dance are located in México City. The audience for dance has remained stable Direccion de Vinculación y Ciudadanización (General over the years. Office for Arts and Culture in the States) oversees 32 Councils, Institutes, and Secretariats for Culture and 142 There are 122 performance spaces—including theaters, spaces (houses for culture, cultural centers, auditoriums, auditoriums, plazas, schools, and rooms—in México, 55 outdoor spaces, and similar venues) across the country of which are based in México City, 12 in the Estado de designed to provide cultural services to the Méxican México, eight in San Luis Potosi, and five in Sinaloa; the states.114 The 2003 budget was $78 million pesos (U.S. rest are in 21 states.119 In addition, the Instituto $7.8 million).115 Méxicano del Seguro Social (IMSS) (Méxican Institute for Social Security), dependent on the Ministry of Health, DANCE EDUCATION owns 38 indoor and 49 outdoor theaters plus 17 forums for different purposes.120 According to the Atlas de The average cost for dance programs offered in public Infraestructura Cultural, 93 percent of the 2,281 munici- institutions is $1,500 pesos (U.S. $150) per year. Costs palities across the country have no theater.121 for private dance schools vary according to location, type, and number of classes taken. In the private sector, the Centro Cultural Los Talleres A.C. features various types of dance; and the Teatro Silvia In México, several options are available for dance stu- Pinal, Teatro Insurgentes, and the Metropolitan present dents: INBA’s school system, the CENART’s Art Education musicals. The average price for a ticket in a public venue Programs, the recreational dance workshops of UNAM, ranges from $40 pesos (U.S. $4) to $120 pesos (U.S. and private schools. The public schools benefit from the $12). A 50 percent discount is usually offered to stu- best infrastructure and teachers. The most prestigious pri- dents, teachers, and seniors; some institutions like UNAM vate dance schools are based in México City. and INBA have a $100 peso (U.S. $10) family ticket for four. INBA’s arts education system offers 19 different levels and modalities in 29 schools that teach choreographic The audience for dance in the CENART increased from composition; history of dance; classes in classic, contem- 33,699 in 2000 to 36,109 in 2002. In both periods, the porary, and folk dance; theater; music; anatomy; kinesiol- majority of spectators attended contemporary dance per- ogy; mime; stage and lighting design; and the visual arts. formances, followed by ballroom, flamenco, and, finally, 116 For professional studies in dance, INBA offers a medi- folkloric dance.122 During the period 1988–2001, the um level for performers and the undergraduate level for dance audience for the Sala Miguel Covarrubias of UNAM choreographers and dance teachers. During the academ- increased notably, from 46,535 in 1988 to 93,579 in ic years 1997–1998 and 2001–2002, 6,835 and 8,196 students, respectively, attended the 29 schools. During 117 CONACULTA–INBA, February 2003, 45. the same periods, 1,114 and 1,232 students, respective- 118 Interview with dance researcher Anadel Lynton, CENIDI-Danza, 08/11/03. 119 National Dance Coordination through the Federal Law for Transparency. 120 114 CONACULTA, 07/31/2003. Ortiz, Ruben, 2002. 121 115 Méxican Federal Government, 07/31/2003b. Monica Mateos-Vega, January 29, 2004 122 116 CND through the Federal Law for Transparency. Department of Programming of CENART, 08/26/03.

PG 166 Making Changes 2001. However, in 2002, the number decreased to DANCE IN MEXICO 70,417.123

TRANSITION FACILITATION recognition of dance as a profession through activities of academic excellence. There are no specific programs for dancers in career transition, and service organizations for dancers have had only limited success.

Service organizations for dancers in México include Danza Méxicana A.C. (DAMAC, Méxican Dance), Especie en Extinción (Endangered Species), Sociedad Méxicana de Coreógrafos (SOMEC, Méxican Society of Choreographers), Asociación Nacional de Intérpretes (ANDI, National Association of Performers), and Colegio de Coreógrafos (Academy of Choreographers). Founded in 1993 with 64 members and today with more than 200, the mission of SOMEC is to protect its members by gathering and delivering the royalties of their copyrighted choreographic works.124 Other public organizations that provide services to dancers are the various institutes for culture, state and city governments, universities, and embassies.125 However, many dance professionals do not take advantage of these benefits.

A few commercial/show dancers are affiliated with the ANDI; however, the exact number is unknown. ANDI col- lects royalties for television programs, soap operas, and movies that are rerun in hotels, restaurants, nightclubs, and bars. After one year of membership, dancers receive support for dental services and eye care. After five years, life insurance in the amount of $60,000 pesos (U.S. $6,000) or $70,000 pesos (U.S. $7,000) is offered to dancers over age 70; also, if dancers have earned some income the previous year, they get an annual bonus. After fifteen years of membership, if they are younger than fifty- five and have earned at least $200 pesos (U.S. $20) during the last five years, members qualify for a monthly stipend known as “Solidary Help,” determined by the number of years of membership and their age.126

In 2002, a new service organization called the Colegio de Coreógrafos was initiated by some of México’s most important dance figures, particularly from the contemporary dance sector. Their mission is to strengthen the

123 Interview with Enrique Estrada, Dance Director, UNAM, 08/20/03. 124 SOMEC http://www.geocities.com/Vienna/1854/coreografos_somec.html, accessed online 2/27/04. 125 CND through the Federal Law for Transparency. 126 ANDI, accessed online http://www.andi.org 08/14/03.

The aDvANCE Project PG 167 PART TWO: VIII

DATA FOR MÉXICO

Information About Dancers There is no official record of dancers in México; therefore, the precise number of dancers is unknown. The following two sources were consulted to provide a general sense of the number of people in the dance sector.

The chart below from CENIDI-Danza excludes dance teachers from the Introduction to Art Schools of INBA and private schools.

Number of Dance Teachers By Category Category Number Choreographers 276 Classical and contemporary dancers 130 Choreography, classical, and contemporary dance teachers 68 Folk dance teachers 55 Flamenco dancers 47 Flamenco dance teachers 5

The virtual magazine Artes e Historia de México127 created a database in collaboration with the México-U.S. Fund for Culture in 2000 that includes 257 professionals registered under the category of dance. From that group: • 99 are artistic directors and/or choreographers • 52 are dancers of different types • 20 are school directors, institutions, or dance organizations • 1 is a researcher • 85 are registered as “other,” including directors and government officers of cultural institutes, independent and performance artists, and 1 photographer

Number of Dancers by Gender Year Number of Dancers Who Performed in the CENART 128 Female Male 2000 950 760 190 2002 920 736 184

127 Artes e Historia de México, 07/30/03. 128 CENART, 08/15/03.

PG 168 Making Changes DANCE IN MEXICO

Salaries for Dancers, 2002 Type of Company Genre Salary Range in Pesos Salary Range in U.S. $ Benefits Include

Subsidized Contemporary 600-6500 per month 129 60-650 per month Social security and retirement bonus Subsidized Classical 8,000-13,000 per 800-1,300 per Food coupons, month + extra pay month + extra Social Security, for Sundays and pay for Sundays and retirement bonus quarterly bonus 130 and quarterly bonus Independent 500-1,500 per 50-150 per None performance performance

Information about Cultural Institutions For a key to acronyms for cultural institutions and their functions, see infrastructure chart below. Institution Year Budget Pesos U.S. Dollars UNAM 2003 Overall 14 billion 131 1.4 billion UNAM 2003 Cultural, artistic, and sports promotion 190 million 132 19 million PNC 2001-2006 2003 Overall 5.8 billion 133 580 million CONACULTA 2003 Overall 1.3 billion 134 130 million CONACULTA 2003 Creation 25 million 135 2.5 million CONACULTA 2003 Development and promotion of 73 million 136 7.3 million research in education and culture INBA 2003 Cultural, artistic, and sports promotion 600 million 137 60 million INBA 2003 Education 400 million 138 40 million FONCA 1995 Performing arts 25 million 139 2.5 million FONCA 1995 Dance 3 million 140 300,000 FONCA 2002 Performing arts 53 million 141 5.3 million FONCA 2002 Dance 12 million 142 1.2 million

129 National Coordination of Dance through the Federal Law for Transparency. 136 Ibid. 130 Irma Morales, First Dancer of the Compania Nacional de Danza, 08/21/03. 137 Ibid. 131 Méxican Federal Government, 07/31/03a. 138 Ibid. 132 Méxican Federal Government, 07/31/03b. 139 FONCA, 08/19/03. 133 Ibid. 140 Ibid. 134 Méxican Federal Government, 07/31/03a. 141 Ibid. 135 Méxican Federal Government, 07/31/03b. 142 Ibid.

The aDvANCE Project PG 169 PART TWO: VIII

Information about Funding The Fondo Nacional para la Cultura y las Artes (FONCA) has been the major grants provider for the arts since 1989. The following is a list of FONCA’s funds for dancers and dance programs in 1995 and 2002:143 Sistema Nacional de Creadores Artísticos (National System for Artistic Creators). Grantees receive the equivalent of the national minimum wage, per month, multiplied by 15, over a three-year period. Twenty-two choreographers have been granted funds from this program. Year Number of Grants Pesos per Month U.S. $ per Month 1995 7,500 750 2002 6 17,000 1,700 Programa de Jóvenes Creadores (Young Creators Program). Grantees receive a one-year stipend.

Year Number of Grants Pesos per Month U.S. $ per Month 1995 7 3,300 330 2002 7 6,500 650 Programa de Ejecutantes (Performers Program). Classical, contemporary, folkloric, and ethnic or traditional dancers receive a one-year stipend. Year Number of Grants Pesos per Month U.S. $ per Month 1995 12 total grants 3,850 385 7 for classical dance 5 for contemporary 2002 35 total grants 7,625 763 11 for classical dance 24 for contemporary Programa de Estudios en el Extranjero (Program to Support Studies Abroad). Dancers, teachers, and choreographers are supported to fulfill dance studies not offered in any Méxican institution. Year Number of Grants Pesos U.S. $ 1995 7 260,000 26,000 2002 9 560,000 56,000 Programa de Residencias Artísticas (Artistic Residencies Program). Offers grants to dancers and choreographers to develop creative projects in the U.S., Canada, Colombia and Venezuela. Year Number of Grants Pesos U.S. $ 1995 3 81,000 8,100 2002 6 200,000 20,000 Programa de Fomento a Proyectos y Coinversiones Culturales (Promotion and Co- investment Cultural Projects Program). Supports companies and individual artists for one-year projects including tours, choreographers, workshops, research and publications.

Year Number of Grants Pesos U.S. $ 1995 19 total grants 1,600 160,000 14 companies / 5 artists million 2002 11 total grants 1,500 150,000 10 companies / 1 artist million

143 Ibid.

PG 170 Making Changes DANCE IN MEXICO

Information about Audiences Institution Year Audience INBA’s venues 144 2001 262,307 over 718 performances INBA’s venues 2002 111,082 over 363 performances CENART’s venues145 2000 33,699 9,701-Teatro Raúl Flores Canelo 1,800-Foro Experimental 22,198-Plaza de la Danza CENART’s venues 2002 36,109 10,331-Teatro Raúl Flores Canelo 2,180-Foro Experimental 23,598-Plaza de la Danza Sala Miguel Covarrubias UNAM 146 2001 93,579 Sala Miguel Covarrubias UNAM 2002 70,417

Information about Venues Institution Theaters Exclusively Theaters That Present Dance Number of Seats for Dance and Other Disciplines INBA Teatro de la Danza 344 INBA Palacio de Bellas Artes 1,889 INBA Teatro Jimenez Rueda n/a INBA Sala Xavier Villaurrutia 109 INBA Teatro Helénico 450 INBA / Private Auditorio Nacional 9,683 Corporations CENART Plaza de la Danza 500 CENART Teatro Raúl Flores Canelo 336 CENART Foro Experimental 90 CENART Teatro de las Artes 607 CENART Plaza de las Artes 1,000 UNAM Sala Miguel Covarrubias 714 UNAM Fuente del CCU 500 UNAM Museo Universitario de El Chopo 200 Private Owner Centro Cultural Los Talleres A.C. 100

144 Programmatic Evaluation 2001 and 2002, provided by the National Coordination of Dance through the Federal Law for Transparency. 145 Department of Programming of CENART, 08/26/03. 146 Interview with Enrique Estrada, Dance Director of UNAM, 08/20/03.

The aDvANCE Project PG 171 PART TWO: VIII Chart of Méxican Cultural Infrastructure with Acronyms SEP Secretaría de Educación Pública Ministry of Public Education CONACULTA Consejo Nacional para la Cultura y las Artes National Council for Culture and Arts Direccion de Vinculación y Ciudadanización States General Office for Arts and Culture in the UNAM Universidad Nacional Autónoma de México México National Autonomos University of Difusión Cultural Office for Cultural Promotion INBA Instituto Nacional de Bellas Artes National Institute of Fine Arts CENART Centro Nacional de las Artes National Center for the Arts FONCA Fondo Nacional para la Cultura y las Artes National Fund for Culture and Arts CCU Centro Cultural Universitario University Cultural Center Dirección de Danza Direction of Dance CND Coordinación Nacional de Danza National Coordination of Dance

PG 172 Making Changes DANCE IN MEXICO

Chart of Méxican Cultural Infrastructure Stemming from INBA

National Institute of Fine Arts Instituto Nacional de Bellas Artes INBA

National Dance Company National Institute of Fine Arts Compañía Nacional de Daza Instituto Nacional de Bellas Artes INBA National Net of Dance Festivals Red Nacional de Festivales

National Program of Continuing Education Programa Nacional de Educación Continua General Department of Fine Arts Subdirección General de Bellas Artes National Program for Dance Residencies Programa Nacional de Residencias Artsticas National Dance Coordination Coordinación Nacional de Danza National Program for Dance in Elementary Schools Programa Nacional de Danza Escolar

Dance Theater Teatro de la Danza

The aDvANCE Project PG 173 SOURCES PART TWO: VIII Books DEMOGRAPHICS FOR MÉXICO Cardona, Patricia and Ramos, Maya. Dance in México, Government type: Anthology: Five centuries of testimonies, reviews and Federal republic operating under a centralized government documents (1521–2002) Vol. II. México City: CONACUL- TA-INBA-Escenologia AC, 2002a. National capital: México City Cardona, Patricia and Ramos, Maya. Dance in México, Historical and Analytical Essays, Vol. I. México City: Administrative divisions: CONACULTA-INBA-Escenologia AC, 2002b. 31 states and one federal district Quintos, Patricia. Dance and Masculinity, Series on Independence: research and documentation of the arts. México City: 16 September 1810 (from Spain) CONACULTA-INBA- Second Era, 2002.

Population: Reports 104,907,991 (July 2003; Source: U.S. Central Intelligence Agency, The World Factbook, available at CONACULTA. Cultural Information System. Accessed http://www.cia.gov.) online http://sic.conaculta.gob.mx/, July 31, 2003.

Currency: CONACULTA–INBA. Educative Indicators System for 1 Méxican peso (Méx$) = 100 centavos Artistic Education, February 2003.

Per capita income: FONCA. Catalogue of México: Gateway to the Americas, $7,700 First Edition. México City: 2003.

Unless otherwise noted, source for demographic informa- Iberoamerican States Organization for Education, Science tion: http://www.kmike.com/country/mxdemog.htm and Culture. Report of the National System for Culture. Accessed online http://www.campus-oei.org/cultura/mexico/c5.htm June 8, 2003.

Méxican Federal Government. Administrative Summary of Expenses of the Federal Law for Transparency. Accessed online http://www.transparencia.inba.gob.mx/rl.htm July 31, 2003a.

Financial and Economic Programatic Summary of the Federal Law for Transparency. Accessed online http://www.transparencia.inba.gob.mx/rl.htm, July 31, 2003b.

Méxican Federal Government, National Council for Culture and Arts. National Program for Culture 2001–2006. México City: 2001. http://www.conaculta.gob.mx

PG 174 Making Changes Taller Coreográfico. Internal Annual Report-Informative DANCE IN MEXICO Brochure: Taller. México City: UNAM, 2000

Working Papers: • http://balletamalia.com/escuela.html Camacho, Patricia. Paper prepared for the Report on • http://www.unam.mx Culture and Sustainability in Iberoamerica-ICSI-Theater • http://www.andi.org and Dance 2002 for the National Center for Research and • http://www.cnca.gob.mx/cnca/Buena/inba/subbellas/ Documentation of Dance (CENIDI-Danza “José Limon”). coordina/cndanza2.html • http://www.conaculta.gob.mx/perma/subeduart/todo.html CONACULTA–INBA. Educative Indicators System for • http://sic.conaculta.gob.mx/ Artistic Education, February 2003. • http://www.danzadanse.com • http://www.endcc.cnca.gob.mx Articles in Journals • http://lanic.utexas.edu/la/region/performing/ • http://www.geocities.com/Vienna/1854/ Monica Mateos-Vega. “Presentaron el Atlas de infraestruc- coreografos_somec.html tura cultural de México elaborado por el CONACULTA.” La Jornada, Cultura (January 29, 2004) Interviews • Irma Morales, First Dancer of the Companía Nacional Riveroll, Julieta. “Planning Gateways to the Americas de Danza, 08/21/03. 2004.” Grupo Reforma (June 23, 2003a) Accessed • Enrique Estrada, Dance Director of UNAM, 08/20/03. online http://www.reforma.com/cultura/articulo/303967 • Rosa Elba Santos, Accountant of the Taller Coreográfico de la UNAM, 08/15/03. Riveroll, Julieta. “Substantial Differences.” Reforma / • Ana María Molina, Assistant Director of the Taller Cultura, 3c. (June 10, 2003) Coreográfico de la UNAM, 08/15/03. • Anadel Lynton, Dance Researcher of CENIDI-Danza, Riveroll, Julieta. “They declare the exit of the external 08/11/03. relations ministry case closed.” Grupo Reforma • Marco Antonio Silva, Head of the National Coordination (September 3, 2003) Accessed online http://www.refor- of Dance of INBA, 07/30/03. ma.com/ed_impresa/notas/030604/cultura/textos/rcu10 • Laura Izquierdo, Head of the Office of Academic Affairs 000.htm of INBA, 08/11/03. • Lucina Jimenez, General Director of CENART, Articles in Magazines 08/05/03. • José Luis Hernández, Head of the Office of Academic Chabaud, Jaime. “Entrevista con Ramiro Osorio, FIC: Affairs of CENART, 08/06/03. Encuentro de Excelencia.” Paso de Gato, Revista • Magdalena Mass, Head of the Department of Academic Méxicana de Teatro, Año 1, Numero 4 (Sept–Oct. 2002, Extension of CENART, 08/06/03. 20.) • Carlos Arturo Briz, Head of the Department of Programming of CENART, 08/06/03. Ortiz, Ruben, “Theater at abandonment: History That • Amparo Sevilla, Director of Regional Relations Demands Continuity.” Paso de Gato, Revista Méxicana de (Direccion de Vinculación y Ciudadanización) of the Teatro, Ano 1, Numero 4 (Sept–Oct. 2002, 20.) General Direction of Popular Culture of CONACULTA, 08/21/03. Dance Companies, Dancers, and Dance Education • Carlos Plascencia, Director of Research and Cultural Websites Studies of the General Direction of Popular Culture of CONACULTA, 08/21/03. • http://www.arts-history.mx • http://www.danza.com.mx Minimum Wage in México • http://www.danzaregia.com • http://www.redlat.org/directorio_desarrollo • Accessed online http://dgcnesyp.inegi.gob.mx/pubcoy/ • http://www.geocities.com/Vienna/1854 coyunt/empleo/sm.html 08/29/03

The aDvANCE Project PG 175 try’s present mission is to reach as large and varied an audience as possible without compromising quality.147 Part Two: IX DANCE ORIENTATION EIghty-nine percent of government-subsidized dance companies are modern/contemporary. DANCE Much of the reputation of dance in the Netherlands is determined by two large companies: the Dutch National IN Ballet (Het Nationale Ballet) in Amsterdam, which con- centrates on classical and contemporary ballet, and the THE NETHERLANDS Netherlands Dance Theatre (Het Nederlandse Danstheater) in The Hague, which stages modern dance productions. Both companies have built an immense following abroad and attract significant audiences each year. Other important dance companies in the Netherlands include Scapino, a contemporary dance company based in Rotterdam, with a wide variety of repertory; Introdans, a regional company based in Arnhem, with one of two companies devoted to youth ntil 1945, performing arts in the Netherlands productions; and the International Dance Theater relied primarily on private donors and the box (Internationaal Danstheater) in Amsterdam, with a con- U office for survival. After World War II, the gov- centration on theatrical presentations of folk dance from ernment assumed an increasingly important role with the around the world. A number of smaller dance groups introduction of systematic financial support for culture. such as Dansgroep Krisztina de Châtel, Dance Works Initially, subsidies from the national government went to Rotterdam, and Peter Bulcaen, Rogie & Company are a few select companies in the major cities. In the late characterized by close association with a single choreog- 148 1960s and early 1970s, the system of subsidies was rapher who determines the company’s artistic profile. modified and new, more experimental, art forms came to An increasing number of dancers (140–150 yearly) now the fore in a variety of smaller companies. find employment in musicals. However, musical dance is not government-subsidized. Cultural policy was reshaped to reflect these developments and, in 1993, the law on Specific Cultural Policy DANCER ATTRIBUTES (de Wet op het Specifiek Cultuurbeleid) was passed establishing that “the Ministry of Cultural Affairs is Ninety percent of Dutch dancers are white, and 65 per- responsible for the creation of conditions which will fur- cent are female. ther the preservation, development, social and geographical distribution, or circulation of artistic works, in which COMPANY AND VENUE SIZES it will be guided by considerations of quality and diversity.” Although this encapsulates the basic tenets of Dutch Seventy-two percent of dance companies are small (< cultural policy, the policy itself is in constant develop- 20 dancers) and 71 percent of dance venues are medi- ment in accordance with the views and priorities of each um-sized (150–900 seats). new government cabinet and individual ministers.

Dutch cultural policy for 2000 to 2004 is focused on planning, “e-culture,” cultural entrepreneurship, acquisi- 147 Ministry of Education, Culture, and Science in the Netherlands, http://www.minocw.nl/english/culture/index.html. May 15, 2003. tion and exhibition of cultural assets, youth, cultural 148 Fabius, Jeroen. Dance Map. De Ondernemende Kunstenaar, October 2001. Accessed online May 14, 2003 http://www.dok.ahk.nl/coach/kennisbank/dans/cul- diversity, and improved programming. The culture indus- turele_kaart/english/Dance_map.pdf.

The aDvANCE Project PG 177 TYPES OF SUPPORT PART TWO: IX The Dutch government supports dance in two ways: GOVERNMENT FINANCING structural support to companies on a four-year funding cycle and project support to choreographers on an annu- Dutch dance is financed largely by the government. In al basis. 2000, 32.6 million € were devoted to dance, with 62 percent coming from the national government. Most national support for dance is allocated on a four- year cycle to larger companies in the form of structural In 2000, the total budget of the Ministry of Culture was subsidies. In 2000, 18 companies received structural 1.4 billion euro (€ ) (U.S. $1.6 billion).149 Of that total, funding, employing approximately 300 dancers. Dancers 300 million € (U.S. $340 million) were devoted to the who work in these companies are offered 12-month con- arts, and 33 million € (U.S. $37 million), or approxi- tracts, which are governed by the Collective Labor mately 11 percent, were allocated to dance. Although Agreement. funding is shared by the national, provincial, and municipal governments, the national government provides the Another form of government subsidy is devoted to proj- majority (62.4 percent) of support for dance. Municipal ects, which tend to be more experimental. The Fund for governments provide 30.2 percent, and provincial govern- Performing Arts and municipalities such as Amsterdam, ments provide an additional 4.6 percent. The remaining Rotterdam, and The Hague award this type of grant. 2.8 percent is supplied by the nationally subsidized Fund Individual choreographers apply for project support and for the Performing Arts (Fonds voor de Podiumkunsten). are subject to peer review. On average, 20 to 30 choreog- Private sponsorship is growing but is limited to produc- raphers are awarded project support each year. The total tions that reach a broader public. number of dancers employed in these projects ranges from 100 to 150, and the amount of subsidy available for AUDIENCE projects is approximately 1.8 million € (U.S. $2 million) annually. Government subsidies for dance result in low-ticket prices and reduced passes for youth audiences, seniors and the In addition, funding for travel expenses, cultural diversity, unemployed. and improvement of working conditions, as well as scholarships for training and education of choreographers and POLICY FORMATION dancers, are available. A special type of funding in the Netherlands is the Income Provision Act for Artists, which Decisions related to cultural policy are made by the provides a basic allowance for a maximum of four years Ministry of Culture, whereas all artistic judgments are left to artists who have just graduated but have not yet found to an independent advisory body called the Cultural steady employment. Council. INTERNATIONAL ORIENTATION To guarantee the desired independence of the arts, judgment on artistic matters is reserved for the Cultural Fifty percent of the dancers and dance students in the Council, an independent advisory body to the Ministry of Netherlands are from foreign countries. Culture. The Cultural Council, made up of industry experts, evaluates each dance company and makes rec- The Netherlands is a very small country and has always ommendations to the Ministry of Culture whether to been internationally oriented. At least 50 percent of the renew, decrease, increase, or stop funding. On the basis dancers and dance students in the Netherlands are from of this advice, the ministry develops a four-year budget- other countries. Dutch citizenship is not necessary to ary proposal that is subject to approval by parliament. qualify for government funding; however, one must obtain a residence permit. Because of stricter European Union (EU) regulations and new Dutch laws, EU nationals can

149 1 euro (€ ) = U.S. $1.14 Currency converted May 6, 2003 settle in the Netherlands only if they can prove they can http://www.xe.com/ucc/. support themselves. For non-EU nationals, it has become

PG 178 Making Changes extremely difficult to obtain work and residence permits. DANCE IN THE NETHERLANDS Students from outside the EU who want to train in the Dutch professional programs are required to pay higher tuition fees. Arts en Culture, Pension and Insurance Company exe- cutes all pension funds and social provisions for artists; EDUCATION and FNV Kiem is the artists’ union with a special section for dancers. The Theater Instituut Nederland is a service Six of seven professional training institutions for dancers and information center for the performing arts, with a in the Netherlands are government-supported. large multimedia center and library. The Netherlands’ Professional Dancers Association (Nederlands There are currently six government-supported, profession- Beroepsvereniging voor Danskunstenaars, NBDK) is an al training institutions for dancers in the Netherlands. interest group especially focused on dance teachers; and Geographically spread in the cities of Amsterdam (two), the National Center for Amateur Dance (LCA) is a service The Hague, Rotterdam, Arnhem, and Tilburg, these organization for amateur dancers, professional choreogra- schools all offer a variety of styles and techniques. Unique phers, and teachers who work with amateur dancers. in Holland is that all schools except The Conservatory in The Hague offer both dancer-training and teacher-training programs. An advanced course in choreography was recently created by the dance academies of Amsterdam, Arnhem, and Rotterdam, resulting in an internationally recognized master’s degree in choreography. There is one private dance school in Amsterdam that prepares students for careers in musicals and show dance.

TRANSITION FACILITATION

The Netherlands offers one of the world’s four formal centers for dancer career transition, the Dutch Retraining Program for Professional Dancers (Stichting Omscholingsregeling Dansers, or SOD).

Founded in 1986, the Dutch Retraining Program for Professional Dancers (Stichting Omscholingsregeling Dansers [SOD]) provides services to dancers in career transition. Dancers pay a small monthly contribution to the program, which offers income support and grants for retraining as well as legal and counseling services, particularly career counseling. Over the years, it has proven very successful. More than 80 percent of the retrained dancers have been able to find employment within one year after they were retrained. Dancers learn about this program through information leaflets, meetings, and the reputation of the staff of the program. Please see Section IV of Part One of this report for more information about SOD.

A number of other service organizations are available for dancers in the Netherlands. The Dancer’s Healthcare Foundation (Stichting Gezondheidszorg voor Dansers) aims to meet specific healthcare needs of dancers; the

The aDvANCE Project PG 179 INFORMATION ABOUT VENUES PART TWO: IX How many venues are there in the Netherlands? DATA FOR THE NETHERLANDS 144 Theater buildings 214 Auditoriums INFORMATION ABOUT DANCE COMPANIES Number of venues by size How many dance companies are there in the 43 Small venues (< 150 seats) Netherlands? 152 Medium-sized venues (150–900 seats) 1,121 Dance companies overall 19 Large venues (> 900 seats) 9 Structurally subsidized dance companies in 1990 10 Structurally subsidized dance companies in 1995 Number of venues by location 18 Structurally subsidized dance companies in 2000 35 Metro venues 179 Regional venues 30 Projects in 1990 18–20 Projects in 2000 What is the aggregate capacity of these venues? 108,826 seats Number of structurally subsidized dance companies by type INFORMATION ABOUT DANCERS 16 Modern/contemporary dance companies 1 Classical dance company How many dancers are there in the Netherlands? 1 Folk/indigenous dance company 1990 242 Dancers in structurally subsidized companies Number of dance companies by size (number of 300 Dancers in projects dancers) 13 Small dance companies (< 20 dancers) 1995 3 Medium-sized dance companies (20–40 dancers) 253 Dancers in structurally subsidized companies 2 Large dance companies (> 40 dancers) 342 Dancers in projects 18 Total structurally subsidized companies 2000 Number of dance companies by size (budget) 450 Dancers in structurally subsidized companies 7 Small dance companies (< 0.4 million € ) 245 Dancers in projects 5 Medium-sized dance companies (0.6–2.5 million € ) Number of dancers by dance type 2 Large dance companies (> 5 million € ) 442 Modern/contemporary dancers 14 Total structurally subsidized companies in 2015 145 Musical dancers 80 Classical dancers Number of dance companies by city or region 28 Folk/indigenous dancers 3 Structurally subsidized companies are regional 15 Structurally subsidized companies are in Number of dancers by sex (figures are estimated) major cities 65% of dancers are female 35% of dancers are male Number of dance companies by profit structure All dance companies, except musicals, are not-for-profit. Number of dancers by race (figures are estimated) 90% of dancers are white 5% of dancers are Asian 4% of dancers are Hispanic 1% of dancers are black

PG 180 Making Changes Number of dancers by employment status DANCE IN THE NETHERLANDS 55% of dancers are full-time 45% of dancers are part-time 2000 Average income for dancer 500,000 People attended performances by 1500 € /month ($1700/month) in 1990 structurally subsidized companies 1900 € /month ($2200/month) in 1995 80,000 People attended projects (estimated) 2300 € /month ($2600/month) in 2000 INFORMATION ABOUT FUNDING FOR DANCE Note: No income distinctions are made in the Netherlands based on type of employment, dance type, What is the amount of public support for the arts in the sex, or employment status. Netherlands?

Average age dancers begin training Ministry of Culture 12 years Dance training begins Total budget 1.4 billion € (U.S. $1.6 billion) 16 years Professional training begins Arts budget 300 million € (U.S. $340 million) Dance budget 32.6 million € (U.S. $37.5 million) Average age dancers have their first engagement 18–20 years Average age of a dancer’s first The budget for dance has increased since 1990 when it engagement totalled 21.5 million € (U.S. $24.7 million).

Average age dancers have their first engagement accord- Funding for dance in 2000 by source ing to dance type National 18 Average age of first classical dance engagement 0.3 million € (U.S. $23.4 million) 20–23 Average ages of first modern/contemporary dance and musical engagements Fund for the Performing Arts 908,000 € (U.S. $1 million) What is the average length of time dancers train in the Netherlands? Provincial (i.e., regional) 5–7 years Average length of dancers’ training 1.5 million € (U.S. $1.7 million)

How does the Netherlands define “professional dancer”? Local (i.e., municipalities) The definition of a professional dancer does not exist. A 9.8 million € (U.S. $11.3 million) dancer who can make a living at dance or who has graduated from one of the dance academies is considered pro- What is the private support for the arts in the fessional. Netherlands? Private sponsorship in the arts sector constitutes less than INFORMATION ABOUT DANCE AUDIENCES 6% of the total budget.

How many people attend dance events in the Netherlands? 1990 360,000 People attended performances by structurally subsidized companies

1995 420,000 People attended performances by structurally subsidized companies 32,000 People attended projects

The aDvANCE Project PG 181 SOURCES PART TWO: IX Unless otherwise noted, the sources for information DEMOGRAPHICS FOR THE NETHERLANDS about dance companies are: • Annual report 2000 (Activiteitenverslag over het jaar Population: 1999 en 2000) of the Employer’s Association of 16,150,511 (July 2003) Dance Companies (Directie Overleg Dans, D.O.D., Source: U.S. Central Intelligence Agency, The World www.dod.nl) Factbook, available at http://www.cia.gov. • Ministry of Education, Sciences and Culture www.minocw.nl Gross employee income per hour: • Municipalities of The Hague (www.denhaag.nl), (2000) Amsterdam (www.amsterdam.nl) and Rotterdam Average 34.60 dfl U.S. $18.60 (www.rotterdam.nl), the Amsterdamse Kunstraad Men 38.80 dfl U.S. $20.90 (www.dunstraad.nl), Amsterdams Fonds voor de Kunst Women 26.90 dfl U.S. $14.50 (www.afk.nl) and the Rotterdamse Kunststichting Full-time 37.20 dfl U.S. $20.00 (www.rks.nl) Part-time 27.20 dfl U.S. $14.60 Steady 35.90 dfl U.S. $19.30 Information about venues: Flexible 17.30 dfl U.S. $9.30 • Vereniging Schouwburgen en Concertgebouwdirecties VSCD (Association of Directors of Theatres and Source: Statistics Netherlands http://www.cbs.nl Concerthalls) www.vsck.nl Conversion from Dutch Guilders (dfl) to U.S. $ Accessed May 27, 2003 Information about dancers: • Annual report 2000 (Activiteitenverslag over het jaar Mean salary for professionals: 999 en 2000) of the Employer’s Association of Dance 26,300 € (U.S. $30,603) Companies (Directie Overleg Dans, D.O.D., Source: Paul Bronkhorst www.dod.nl) Conversion from € to US$ at http://www.xe.com/ucc/ • National Performing Arts Fund www.fapk.nl Accessed June 4, 2003 • Collective Labor Agreement published by FNV Kunsten, Informatie en Media, Amsterdam (www.fnv-kiem.nl) Cost of Living (COL) Index: and Directie Overleg Dans (www.dod.nl) A basket of goods and services that costs US $100 would • Surveys carried out by The Employer’s Association of cost $118 in the Netherlands. Dance Companies (Directie Overleg Dans, D.O.D., Netherlands COL Index = 118 www.dod.nl) and the Netherlands Dance Institute Source: Expat Forum http://www.expatforum.com/Resources/icol.htm Information about funding for dance: Accessed May 27, 2003 • Ministry of Education, Sciences and Culture www.minocw.nl • Municipalities of The Hague (www.denhaag.nl), Amsterdam (www.amsterdam.nl) and Rotterdam (www.rotterdam.nl), the Amsterdamse Kunstraad (www.dunstraad.nl), Amsterdams Fonds voor de Kunst (www.afk.nl) and the Rotterdamse Kunststichting (www.rks.nl)

Additional Information: • Fabius, Jeroen. Dance Map. De Ondernemende Kunstenaar, October 2001. Accessed online May 14, 2003 http://www.dok.ahk.nl/coach/kennisbank/dans/ culturele_kaart/english/Dance_map.pdf.

PG 182 Making Changes Versteeg, Coos, Ed. Dancing Dutch: Contemporary Dance DANCE IN THE NETHERLANDS in the Netherlands. Amsterdam: Theater Instituut Nederland, 2000.

The aDvANCE Project PG 183 Efforts to secure greater federal government support for the arts are ongoing. In 1999, Article 69BV (Swiss Federal Constitution) was passed as part of a total revision of the Federal Constitution. This article reconfirms Part Two: X the cantons’ primary responsibility for culture but allows for the federal government to support cultural activities of Swiss-wide interest, as well as to promote art and DANCE music—especially in the area of education—while keeping in consideration the nation’s cultural and lingual diversity. In 2004, the Federal Office of Culture was IN working on a bill to promote culture. SWITZERLAND

he situation of dance in Switzerland is influenced by the socio-political structure of Swiss society. T Switzerland (Confoederatio Helvetica [CH]) is a POPULAR GENRES confederation of 26 cantons. There are four official languages: German and French are dominant, and the two In addition to ballet and modern/contemporary dance, others are Italian and Rumantsch. In 2002, there were flamenco, jazz and performance art are all popular forms 7.3 million inhabitants in Switzerland, of which 1.5 mil- of dance in Switzerland. lion, or approximately 19 percent, were foreigners. INTERNATIONAL POPULATION The Swiss political system is a direct democracy. Each canton is independent of the federal government and, for As of 2003, only two of the 128 dancers in the four example, carries out its own tax collection and deter- largest dance companies in Switzerland are Swiss nation- mines its own cultural policies. Forty-eight percent of als. public funding for the arts comes from the cities, 39 percent from the cantons, and only 13 percent from the fed- Swiss dancers often move from a pre-professional studio eral government. Agencies that provide support for the in Switzerland to a major European school; and those arts at the federal level include the Federal Office of who make a career outside the country seldom return. As Culture, the Arts Council of Switzerland (Pro Helvetia), a result, foreign-born dancers populate most Swiss dance the Federal Department of Foreign Affairs, the Swiss companies. Agency for Development and Cooperation, and Presence Switzerland. Since January 2003, the Bilateral Agreements between the Swiss federal government and the European Union In 1986, an attempt was made to amend the Swiss (EU) have ensured that EU citizens can move and work Constitution and mandate that the federal government freely in Switzerland, once they have received a work spend one percent of its budget on cultural activities. The permit and have been working for one year. However, cit- amendment, however, was defeated by a national vote. izens from outside the EU have a more difficult time In 1994, another attempt to amend the constitution with obtaining long-term permission to work in Switzerland. an article on cultural promotion failed.

The aDvANCE Project PG 185 Promotion), published by the Federal Office of Culture and PART TWO: X the Swiss Union of Cultural Foundations.150 Some grants are confined to residents in a particular canton. The most Aid for foreign dancers depends on their residency status. important Swiss-wide foundations for dance include Traditionally, professional dancers on a regular yearly con- Pierino Ambrololi Stiftung (for educational support), tract receive a one-year work permit (“B” Permit), which Binding-Stiftung, Ernst Göhner Stiftung, Stanley Thomas can be renewed annually. Depending on his or her nation- Johnson Stiftung, Foundation Nestlé, Schweizerische ality, a dancer receives permanent residency (“C” Permit) Interpreten-Stiftung SIS, and the Beatrice und Otto after several years. Both permits grant the right to collect Tschumi Stiftung Foundation Nestlé. The Zürcher Ballett unemployment. is a unique example of a dance company that enjoys substantial support from private commercial institutions. FINANCING Among the many important sponsors of the Zürich Opera House, Audi, Davidoff, and Panalpina provide funds ear- Government subsidy is the mainstay of Swiss dance. marked specifically for ballet productions and projects Twenty-two percent of contributions to the arts also come and UBS exclusively sponsors the ballet company as from private funds. “Partner des Zürcher Balletts.”

The Swiss Federal Office of Culture (Bundesamt für Another important funding organization is the Migros Kultur, BAK) supports dance on a political level and pro- Kulturprozent (Migros Cultural Percentage), a unique enti- vides substantial financial aid to dance umbrella organi- ty in the world of the performing arts. Migros is one of the zations, which are instrumental in promoting dance in largest retail chains in Switzerland, and its founder Switzerland. At present, the Federal Office of Culture does Gottlieb Duttweiler was ardently committed to supporting not have the legal basis to finance dance projects. This Swiss culture. According to the company statute, the could change, however, if a bill for cultural promotion Migros Cooperative Federation (Migros passes parliament (at the earliest in January 2007). Genossenschaftsbund) must dedicate one percent of its annual turnover to cultural and social projects. Migros has Pro Helvetia is the dominant national foundation to sup- established scholarships for young dancers to attend port the arts. Financed by the federal government, it pro- major international dance schools. Every two years, motes Swiss culture abroad, develops the arts within Migros organizes an international dance festival in Switzerland, and supports arts development in several Switzerland called “Steps” and co-produces Swiss com- partner countries. Dance is one of Pro Helvetia’s priority panies in the festival. Migros Kulturprozent also finances programs for the budgetary period 2004–2007. “Projekt productions of Swiss dance companies in Switzerland and Tanz,” which it is carrying out with the Federal Office of abroad. Culture, was recently launched and promises to have a substantial impact on dance in Switzerland. Its areas of OVERVIEW AND ROLE OF PROFESSIONAL focus include dance education, recognition of the profes- ASSOCIATIONS sion, professional employment, practical professional out- put, diffusion, retraining/transition, and Social Security. Several professional associations for dancers have developed in response to the needs of those in both subsidized As mentioned above, the cantons and cities are very influ- theatres and independent companies. ential in promoting the arts and together provide 87 percent of public funding for the arts. Each individual canton Because of differences in the theatre traditions in neigh- and city determines its own cultural policy and therefore boring Germany and France, there are also differences in support for dance varies. In general, most cantons and the way dance has developed and organized itself in the cities support dance and provide funding for both institu- French- and German-influenced areas of the country. The tional and independent dance companies. German-speaking part of Switzerland is dominated by highly subsidized theater houses with resident Throughout Switzerland, many foundations and organiza- ballet/dance companies. Outside these institutions and in tions finance art projects as well. These are listed in the “Handbuch für Kulturförderung” (Handbook for Cultural 150 The handbook is available online at http://www.kulturforerderung.ch..

PG 186 Making Changes the French and German regions of the country, independ- DANCE IN SWITZERLAND ent companies and freelance dancers are the norm. To service the needs of these two distinct groups, several different professional associations have developed. Most subsidized theater employers in Switzerland are members of the Swiss Theatre Association The Swiss umbrella organization for Professional Artistic (Schweizerischer Bühnenverband SBV), and performers Dance (SDT/ASD) was formed in 1974, and most of the are members of the Swiss Stage Artists Guild institutional dance companies, along with a few inde- (Schweizerischer Bühnenkünstlerverband SBKV). pendent companies, are members. In 1991, the Collective agreements between the two associations pro- Association of Swiss Professional Dance Organizations tect dancers in the major subsidized theaters in the (VSBT) was founded to function as an umbrella organiza- Swiss-German cantons and ensure minimum wage, a reg- tion for three national professional associations: the Swiss ulated work schedule, paid vacation, an annual bonus, Association of Dancers and Choreographers and a clear process of non-continuance of contract. Union (SVTC/AsuDaC), the Swiss Ballet Teachers Association membership is not mandatory, although almost all the (SBLV), and the Swiss Professional Association for Dance dancers in state-subsidized theaters are members. and Movement (SBTG/ASDeM). These associations, along with the Swiss Association of Dance Schools (VST/FSED), The position of dance within individual state-subsidized help members in many ways, from lobbying for profes- theaters depends largely on the intendant (general man- sional recognition and social rights to establishing ager/artistic director). The Zürcher Ballett, for example, is employment guidelines and teacher certification. led by Heinz Spoerli and is the largest dance company in Switzerland. It has 44 dancers, including its Junior The Swiss Federal Office of Culture recently encouraged Company, and a staff of seven. It is part of the Zürich the two umbrella organizations—VSBT and SDT—to Opera House (Intendant Alexander Pereira) and, through merge to better facilitate communication and policy Spoerli’s international stature and experience, it maintains implementation within the dance community. As of this a high level of independent decision making. It is the only writing, the two associations remain distinct, but talks are subsidized dance company to have a major private spon- ongoing to effect a merger in the summer of 2004. sor, the UBS. The Opera House also has an affiliated ballet school. The ballet is financed by the subsidy given the SUBSIDIZED THEATERS IN SWISS-GERMAN Opera House by the canton of Zürich. CANTONS Ballett Basel, with 22 dancers, seven staff, and an affili- Most Swiss-German cantons have a centrally located the- ated ballet school, also has a certain degree of independ- ater. The cantonal capitals of Basel, Bern, Luzern151, St. ence in artistic decision-making. This is also the case in Gallen, and Zürich have a centrally located theater and a St. Gallen (with 16 dancers) where the artistic director fully subsidized company presenting opera, drama, and has introduced a purely contemporary repertory. On the dance. opposite side, the ballet ensembles in Bern and in the French part in Geneva have come under the threat of Performing arts organizations in the German-speaking those who wish to dissolve the dance companies in favor cantons are influenced by the system of heavily state-sub- of redirecting finances to opera and drama. sidized, centralized performance institutions in Germany that were introduced in the late nineteenth century. As a INDEPENDENT COMPANIES IN SWISS-GERMAN result, most major cities in this area—Basel, Bern, CANTONS Luzern, St. Gallen, and Zürich—have a centrally located theater building and a fully subsidized company present- Largely modern/contemporary, most independent dance ing opera, drama, and dance. Funding for each theater companies in the Swiss-German cantons struggle to sur- varies, but in general it comes from each individual city vive financially in comparison to the heavily state-subsi- and/or canton. dized companies.

There is a large number of independent dance companies 151 Luzern dissolved its dance company in 1999 in favor of a choreography center that hires dancers ad hoc. It will reinstate an institutional company in July 2004. in the Swiss-German cantons. Many cities and even some

The aDvANCE Project PG 187 Ballet Lausanne, with 36 dancers, three staff, and a PART TWO: X school, received CHF 3.3 million (U.S. $2.7 million) of the CHF 3.8 million (U.S. $3.0 million) dance budget of rural areas in the German-speaking part of the country the city of Lausanne. Of the CHF 960,000 (U.S. have an association that supports independent dance and $770,000) designated for dance by the Canton Vaud, the was, in many cases, created by the dancers themselves to Béjart Ballet Lausanne received CHF 600,000 (U.S. promote their cause. The largest local associations $481,000). include the IG Tanz Zürich, IG Tanz Basel, and TAP-Tanz- Aktive-Plattform Bern. These organizations provide infor- The largest and longest surviving independent company mation and advice regarding Social Security, unemploy- in Switzerland is Cie Philippe Saire. The company has an ment, professional opportunities, and financial security. annual budget of approximately CHF 1 million (U.S. $802,000), with CHF 150,000 (U.S. $120,000) from The most important source of information for the general Canton Vaud, CHF 160,000 (U.S. $128,000) from the public and for dancers in Switzerland is the website city of Lausanne, and additional funding from Pro www.tanz-danse.ch, which was set up by SDT/ASD and Helvetia. is in both French and German.152 The independent dancers in the German-speaking part of Switzerland also Many local independent dancers are affiliated with the rely on the dance magazine Tanz der Dinge. stage artists’ union Syndicat Suisse Romand du Spectacle (SSRS) and are members of two support associations for The SBKV has recognized the increase in the number of contemporary dance: the Association for Contemporary modern/contemporary and independent dancers in the Dance (ADC), Geneva, and the Canton Vaud Association past few years and amended its statutes accordingly. As a for Contemporary Dance (AVDC), Lausanne. result, a majority (80) of the 150 dancers registered with the SBKV are independents. DANCERS’ SALARIES

SWISS-FRENCH CANTONS (ROMANDIE) Only a few independent dancers earn enough money to live from dance income alone; 40 percent do not gener- Reflecting French cultural influence, the majority of com- ate even half their income from dance.154 panies in Romandie are independent and dancers are hired on short-term contracts. The average monthly corps-de-ballet salary in official companies is CHF 3,800 (U.S. $3,050), and the average The situation of dance in the French-language cantons monthly salary for independents in short-term projects is reflects the influence of France. Unlike the Swiss-German CHF 2,500 (U.S.$2,000). The SBKV contracts for the cantons, the emphasis here is on independent dance 2002-2003 season determined the following monthly companies. Several companies in the area receive an minimum wages a theater can offer an artist: Zürich CHF annual subsidy that allows for the development of a few 3,750 (U.S.$3,000), Basel CHF 3,250 (U.S.$2,600), productions, and most hire dancers on a per project basis. Bern CHF 3,050 (U.S.$2,500), St. Gallen CHF 3,050 Touring is also a large part of their activity. (U.S.$2,500), and Luzern CHF 3,000 (U.S.$2,406).

Two major companies in the Romandie receive high-level INSURANCE AND SOCIAL WELFARE government funding: the Béjart Ballet Lausanne (Canton Vaud) and the Geneva Ballet (Ballet du Grand Théâtre de Swiss law requires that dancers, like all employees, con- Genève). The Geneva Ballet, with 23 dancers and three tribute and therefore have access to an elaborate social staff, is affiliated with and financed by the Geneva Opera, welfare program that provides insurance as well as unem- which receives a subsidy of CHF 12 million (U.S. $9.6 ployment and pension funds. million)153 from the city of Geneva. In 2001, the Béjart Dancers who earn more than CHF 25,320 (U.S. 152 In September 2004, www.tanz-danse.ch will have merged with the two other $20,000) must, by law, pay into a superannuation major dance websites into a official site for Switzerland. The site is subsidized by the Federal Office of Culture. 153 U.S. $1 = 1.25 Swiss franc (CHF). Currency conversion: 154 Salary information provided by “Projekt Tanz,” a dance project initiated by the http://www.xe.com/ucc/. Federal Office of Culture and Pro Helvetia.

PG 188 Making Changes scheme (BVG), with management and employee each DANCE IN SWITZERLAND contributing 50 percent of the required amount. The dancer may cash in this amount immediately upon leaving the country, getting married, or becoming a self- which in March 2003 obtained full accreditation as a employed artist. To assure independent dancers access to “Höhere Fachschule” within the Hochschule für Musik a superannuation fund, the SBKV created its own founda- und Theater HMT (Academy of Music and Theatre of can- tion, the Charles-Apothéloz-Stiftung, which has a pay- ton Zürich), is the only publicly financed training school ment plan to facilitate ad hoc and intermittent employ- for professional dancers in Switzerland. The accreditation ment among dancers and other performing artists. by the canton of Zürich is important because it confirms dance as an official vocation in that canton. As with all employees in Switzerland, dancers must also pay into the federal social welfare plan (AHV/IE/EO/ALV), Basel and Zürich have dance schools associated with which includes old-age pension, invalid pension, and their official dance companies. École-Atelier Rudra Béjart unemployment contributions. Again, management and Lausanne, affiliated with the Béjart Ballet in Romandie, is employee each contribute 50 percent of the required a unique example. Twenty young dancers are selected amount. Dancers can avail themselves of these funds each year to continue training for two years, to refine their when they reach pension age, even if they are living skills and awaken talents in other dance-related fields abroad. such as music, theatre, and martial arts. These classes are offered to selected students tuition-free. By law, anyone residing in Switzerland must have health insurance. Employers are required by law to contribute “Tanz in der Schule” (Dance in Schools) was first intro- half of the contribution to Accident-Insurance (UVG). The duced in Swiss public schools in the 1980s by a sports SBKV and other associations offer a collective policy for teacher who studied dance in the United States. Dance is members. Independent dancers must ensure coverage still not an official school subject but is taught in connec- through an appropriate insurer. Anyone who earns less tion with sports, gymnastics, music, and theatre. For stu- than a certain annual income is eligible for government dents wishing to take up dance professionally, there are assistance to help pay for health insurance. special classes for gifted students in art, music, dance, and sports, called Kunst-und Sportklassen (Art and Sports EDUCATION Classes), or K&S-Klassen, that several Public Schools have installed. The students’ schedules are structured to There is only one publicly financed professional training allow them to pursue their training. In Zürich, there are school for dancers in Switzerland. two such schools, Sekundarschule Neumünster and Gymnasium Rämibühl. Although many dance schools throughout Switzerland offer a wide range of styles, only a few have promoted Switzerland has very few dance programs at the universi- dancers to a professional career. Most dancers study in ty level. In 2002, the University of Bern established with- Switzerland until they reach a pre-professional level, and in its Institute for Sport and Sport Science a post-diploma then they leave to train in one of the major European study under the rubric “TanzKultur” (Dance Culture). This schools, such as the Hamburg Ballet School, Stuttgart two-year further-education course is for people active in Ballet School, the Laban Centre in London, and the some aspect of dance who already have a tertiary diplo- Rotterdamse Dansacademie. There are three small prima in a field. It is a general education course about vate schools in Geneva—the Geneva Dance Centre, the dance, offering courses in dance theory, aesthetics, and École de Danse Classique de Genève, and the École de history, which are not usually available for dancers in Danse de Genève—along with the Swiss Professional Switzerland. The four modules of the program consider Ballet School (SBSS) in Zürich, which have all been effec- cultural-historical, pedagogical, sociological, and media tive in training young dancers. The schools in Geneva do issues. In the same year, the University of Bern also not receive public financial or structural support. launched the four-year pilot project, “Dance Science” However, they are on the SDT list of recommended within the Drama Department of the Arts Faculty, which schools and they are recognized by Migros, which pro- enables it to offer lectures and seminars in dance science. vides scholarships to some of their students. The SBBS,

The aDvANCE Project PG 189 process, and the benefits of a successful transition to a PART TWO: X future productive career. To that end, the IOTPD hosts international conferences, publishes books, distributes DANCE AS A VOCATION information, and funds research about career transition for professional dancers. The lack of Federal recognition of dance as an official vocation is a hotly debated issue in the Swiss dance com- In 1993, the SBKV and SIS set up an internal foundation, munity with serious repercussions within the Cantonal the Swiss Foundation for the Retraining of Stage Artists, social net and school systems. with starting capital of CHF 100,000 (U.S. $80,000). The foundation offers counseling and loans for a maxi- DANCE MEDICINE mum of two years to dancers in transition. Any member with a long-term stage career of a minimum of 7–10 Dance medicine is a new focus within the Swiss dance years can apply for assistance. The SBKV defines a pro- community, and most major companies provide medical fessional dancer as a person who has completed an offi- support. cial training program in dance or has worked in dance for a living for several years. In May 2003, the Institut für Spiraldynamik opened a section within its clinic specifically devoted to dance med- The Swiss Association for the Career Re-orientation of icine. This was initiated in collaboration with Dr. Liane Professional Dancers (NPT/RDP) is located in Geneva. Simmel, president of the German Association of Dance Initiated by Philippe Braunschweig, the NPT/RDP has Medicine TaMeD. helped several former dancers transition to new careers. The NPT/RDP receives some funding from foundations The first attempt to promote a centralized dance medicine and also relies on subscription fees from members. Most group in Switzerland took place on June 7, 2003, at a members are professional dancers from the main the- meeting held by the Health Department of the Swiss atres. Recently, the NPT/RDP joined Swissperform (SIS), Foundation for Performing Artists (SIS). In early 2002, the organization for copyright and artists’ rights. As a SIS, in cooperation with the SBKV and the Swiss result, the NPT/RDP is now run on a professional basis, Musicians Guild (SMV), created a Health Department to and administrative work and grants for retraining are deal with the health and well-being of performing artists financed through SIS. in the country. It was considered that stage artists in Switzerland, especially dancers, lack clear and defined Each major population center in Switzerland has a guidelines about health and safety from management. Cantonal Department of Industry, Business and Labour Accordingly, the Health Department was set up to support (KIGA), which aims to get people off the unemployment the health and well-being of stage artists, giving priority list. Government programs are in place that will pay to to prevention. retrain the unemployed and help them transition into a more “employable” vocation. Some dancers have taken TRANSITION FACILITATION advantage of this, and it is the primary method of transition in Switzerland. Both the SBKV and NPT look initial- There are no official programs for transition facilitation in ly into these government programs to enable dancers to dance companies in Switzerland. However, several insti- transition before releasing their own limited funds. tutions are active in supporting transition. Recent new unemployment legislation has created turmoil The International Organization for the Transition of within the performing arts, especially the independent Professional Dancers (IOTPD) was formed in 1993 by dance scene. Whereas until recently, a worker was Philippe Braunschweig in Lausanne, Switzerland, and required to have been employed for six months within a plays a significant leadership and advocacy role in the two-year period to qualify for unemployment, that has field. The main objectives of IOTPD are to help profes- now been changed to 12 months within two years. This sional dancers in the process of career transition and to new stipulation makes it difficult for dancers who do not promote awareness of the contribution the dancer makes have full-time contracts to obtain unemployment benefits. to society, the needs of the dancer during the transition The major performing arts guilds are lobbying the federal

PG 190 Making Changes government to enact an exemption clause for independent DANCE IN SWITZERLAND artists. As of July 2003, the Department of Statistics in Bern (Amt für Statistik) reported 300 dancers registered as unemployed throughout Switzerland (For more details, DATA FOR SWITZERLAND see Appendix 1 of the Switzerland Country Profile.) How many dance companies were in Switzerland in One major obstacle to transition for certain non-Swiss 2003? dancers is the lack of language skills. The most success- 5 Dance companies at subsidized theaters ful candidates are those who assimilate into Swiss socie- (Basel, Bern, Geneva, St. Gallen, and Zürich) ty, learning the dominant language and becoming 1 State-subsidized dance company acquainted with cultural characteristics. (Béjart Ballet Lausanne)

There were approximately 100 companies working on a project basis. Unofficially, these independent companies can be divided into the following groups:

4–6 companies of high standard, touring extensively in foreign countries 4–6 companies or solo performers of special interest 5–8 companies as promising newcomers 8–10 companies producing steadily for many years 10–20 companies of more local importance 30–50 companies struggling for survival

Dance companies by type The official companies of Zürich, Basel, Geneva, and Bern and the Béjart Ballet, Lausanne are ballet-based, but will perform neo-classical and modern works as well. Zürich is the only company that also performs classical repertory. Most of the independent companies are modern/contemporary. The only official contemporary company is St. Gallen.

1 Official company, contemporary 3 Flamenco 5 Official companies, classical/modern 5–10 Solo performers 80–90 Modern, various styles

Number of dancers in the official companies Zürich 44 Béjart 36 Geneva 23 Basel 22 Bern 16 St. Gallen 14

Most independent companies have fewer than 5 dancers.

The aDvANCE Project PG 191 PART TWO: X

Dance companies by budget in 2003 (approximate amounts) 155

Number of Type of Company Budget in Swiss Francs Budget in U.S. Dollars Companies 6 Official > 1 million > $800,800 5 Independent 500,000-1 million $400,400-800,800 6 Independent 100,000-500,000 $80,000-400,400 7 Independent 50,000-100,000 $40,000-80,000 3 Independent < 50,000 < $40,000

Budgets for most independent dance companies are entirely dependent on the requirements of the specific project, which varies from year to year. In official companies, the subsidy levels also vary. As the dance section of each theater is an integral part of the entire artistic institution, dance production costs are integrated into general production costs.

In the 2001–2002 season, the balance sheets of the Artistic personnel costs: three major houses provide the following information: CHF 16.6 million (U.S. $13.6 million) Ballet personnel costs: Zürich Opera House Not separated from overall personnel costs Government subsidy: CHF 63.5 million (U.S. $50.8 million) Estimated total costs for ballet (data AP): CHF 1.8 million (U.S. $1.4 million) Artistic personnel costs: CHF 54.3 million (U.S. $43.5 million) Box office receipts, theatre total: CHF 6.6 million (U.S. $5.3 million) Ballet personnel costs: Not separated from overall personnel costs Dancers’ Salaries Box office receipts, theater total: Average corps-de-ballet monthly salary in official company: CHF 34.9 million (U.S. $28.0 million) CHF 3,800 (U.S. $3,050) Average monthly salary for independent dancer: Theater Basel CHF 2,500 (U.S.$2,000) Government subsidy: CHF 36.5 million (U.S. $29.0 million) SBKV contracts for the 2002–2003 season determined Artistic personnel costs: the following monthly minimum wage a theater can offer CHF 16.6 million (U.S. $13.3 million) an artist: Ballet personnel costs: Zürich CHF 3,750 (U.S.$3,000) CHF 1.9 million (U.S. $1.6 million) Basel CHF 3,250 (U.S.$2,600) Bern CHF 3,050 (U.S.$2,500) Box office receipts, theatre total: St. Gallen CHF 3,050 (U.S.$2,500) CHF 8.6 million (U.S. $6.9 million) Luzern CHF 3,000 (U.S.$2,406)

Theater Bern Government subsidy: 155 These figures do not represent all dance companies in Switzerland but only those CHF 22.0 million (U.S. $17.6 million) that responded to a questionnaire for the purposes of this country profile.

PG 192 Making Changes DANCE IN SWITZERLAND

Public Funding for the Arts in Switzerland

Federal government* 13%

Cities 48% Cantons 39%

Cities Cantons Federal government

*Pro Helvetia is the only federal institution that supports the arts.

Pro Helvetia Dance Budget: 1999-2004 2004 2003 2002 2001 2000 1999 (in CHF) (in CHF) (in CHF) (in CHF) (in CHF) (in CHF) Production 615,000 553,000 428,000 428,000 428,000 428,000 Exchange in 345,000 275,000 275,000 275,000 275,000 275,000 Switzerland International 845,000 630,000 590,000 440,000 440,000 440,000 Exchange Budget Total 1,805,000 1,458,000 1,293,000 1,143,000 1,143,000 1,143,000

U.S. $1 = 1.25 Swiss franc (CHF). Currency conversion: http://www.xe.com/ucc/

Education 1 publicly recognized and subsidized dance school

Approximately: 108 schools recognized by the dance associations 126 dance teachers 400 dance studios 40,000 dance students

The aDvANCE Project PG 193 SWITZERLAND APPENDIX 2 PART TWO: X Related Links: SWITZERLAND APPENDIX 1 Federal Authorities of the Swiss Confederation: Registered Unemployed Dancers in Switzerland Switzerland: A Brief Guide*: www.admin.ch/ch/e/schweiz/index.html. Department of Statistics (Amt für Statistik), Bern Status as of July 2003 SDT: www.tanz-danse.ch (This website contains broad information on dance in (Some dancers classified themselves within a particular Switzerland as well as links to most of the country’s grouping of professional dance, whereas most used the dance websites. As of September 2004, it will appear as generic term “dancer.” No gender breakdown was possi- part of the new Swiss dance website, consolidating ble. Any grouping with fewer than five registrations was www.tanz-danse.ch, www.tanznetz.ch, and www.swiss- not detailed with exact number.) dance.info.)

Stated Vocation/Classification Number of Persons Pro Helvetia*: www.pro-helvetia.ch/ Swiss Federal Office of Culture (BAK): www.kultur- Dancers 213 schweiz.admin.ch/index_d.html

Dance teachers 12 Migros Kulturprozent: www.kulturprozent.ch

Rhythmic dancers 5 NPT*: www.dance-transition.ch/english/english1.htm SBKV*: www.sbkv.com Ballet masters/mistresses 5 SIS: www.interpreten.ch SBBS*: www.hmt.edu/fs.php?dept=8 Choreographers 10 TanzKultur: www.tanzkultur.unibe.ch/ Classical dancers 7 SiWiC*: www.prochoreo.com/ Modern dancers 17 Institut für Spiraldynamik, Zürich: Körperausdruckstänzer/innen 5 www.spiraldynamik.com

Soloists < 5

Jazz/Folk dancers 6 *In English

Corps de Ballet dancers 12

Revue/Show dancers 8

TOTAL: 300+

PG 194 Making Changes DEMOGRAPHICS FOR SWITZERLAND DANCE IN SWITZERLAND Source: U.S. Central Intelligence Agency, The World Factbook, Exchange rates: available at http://www.cia.gov. U.S. $1 = 1.25 Swiss franc (CHF). Currency conversion: http://www.xe.com/ucc/ Geography note: Switzerland is landlocked; it is at the crossroads of northern and southern Europe; along with southeastern France, northern Italy, and southwestern Austria; it has the highest elevations in the Alps.

Ethnic groups: German 65%, French 18%, Italian 10%, Romansch 1%, other 6%

Languages: German (official) 63.7%, French (official) 19.2%, Italian (official) 7.6%, Romansch (official) 0.6%, other 8.9%

Government yype: Federal republic

Administrative divisions: 26 cantons: Aargau, Appenzell Ausser-Rhoden, Appenzell Inner-Rhoden, Basel-Landschaft, Basel-Stadt, Bern, Fribourg, Genève, Glarus, Graubünden, Jura, Luzern, Neuchâtel, Nidwalden, Obwalden, St. Gallen, Schaffhausen, Schwyz, Solothurn, Thurgau, Ticino, Uri, Valais, Vaud, Zug, Zurich

Economy overview: Switzerland is a prosperous and stable modern market economy with low unemployment, a highly skilled labor force, and a per-capita GDP larger than that of the big western European economies. In recent years, the Swiss have brought their economic practices largely into con- formity with the European Union’s in order to enhance their international competitiveness. Although the Swiss are not pursuing full EU membership in the near term, Switzerland and Belgium signed agreements to further lib- eralize trade ties in 1999, and continue to discuss further areas for cooperation.

GDP per capita: $31,700 (2002 est.) (purchasing power parity rates)

Currency: Swiss franc (CHF)

The aDvANCE Project PG 195 • The dance economy parallels the larger economy, and both have experienced a widening gap between larger and smaller companies.

Part Two: XI • Audiences for Nutcracker performances, once a reli- able box office success for ballet companies, have declined sharply. DANCE Although large and medium-sized ballet companies ended the decade with larger budgets and higher con- IN tributed and earned income figures than those of the early 1990s, only the bigger companies have been able THE UNITED to expand and provide more performances despite the changes in the funding scene. For medium-sized modern dance companies, the story is quite different: they ended STATES the decade with a five-year downslide, with only 33 percent breaking even or better in 1998. Smaller companies ended the decade in worse shape than they began it (Munger, 2001).

GROWTH IN THE NUMBER OF COMPANIES reating a context for examining career transition for dancers in the United States is a daunting The number of dance companies in the U.S., estimated C task. Not only is the country larger geographical- at over 650, increased by 97 percent between 1987 and ly than many others presented in this report,156 but its 1997. population (nearly 300 million) and its artist population (2.1 million) are among the largest in the world. Dance is a relatively young “industry” in America. In Moreover, government organizations, private foundations, 1965, the NEA identified 37 professional dance compa- researchers, the U.S. Census, and arts and dance serv- nies. The oldest companies are the Metropolitan Opera ice organizations often report different sets of information (1895), the Martha Graham Company (1926), the related to dance. We have therefore provided various Atlanta Ballet (1929), and the San Francisco Ballet sources for information, but do not propose to choose (1933). Only 72 companies claim founding dates before one data set over the other. 1970 (Dance/USA, 2000).

A 2001 report by the national dance service organiza- According to the U.S. government’s Economic Census, tion, Dance/USA, highlights four main trends that there were 363 dance companies in the United States in emerged in the field between 1990 and 2000 (Munger, 1997, nearly half of which (127) were ballet companies 2001): (T. Smith, 2003). Dance/USA reports an estimate of over 650 dance companies active in the U.S today, 75 with • New genres of culturally specific and underexposed budgets over $1 million (Munger, 2002a). Thirty-nine dance forms are growing, gaining audiences and support dance companies participated in Dance/USA’s 2000 in American communities. data survey and were categorized according to size of revenue budget. Among those that responded to the sur- • Government support has declined, and individual artist vey, there were 10 ballet companies with revenue budg- grants from the National Endowment for the Arts (NEA) ets over $5 million (Large Ballet), 12 ballet companies have been eliminated. between $1 and $4.99 million (Medium Ballet), 10 modern or “other” companies with budgets over $900,000 (Large Modern), and seven modern or “other” 156 The U.S. is the world’s third-largest country by geographical size after Russia and Canada (U.S. Central Intelligence Agency, The World Factbook, available at companies with budgets between $250,000 and http://www.cia.gov).

The aDvANCE Project PG 197 paid $217.9 million in salaries and benefits (which did PART TWO: XI not keep pace with inflation). These companies received four percent, or $15.8 million, of their 2000 income from $899,999 (Medium Modern). The “other” category state, local, and federal government contributions; seven includes Small Modern and Medium Culturally Specific percent, or $26.3 million, was from corporate contribu- dance companies (Munger, 2002b). tions (an increase of five percent from 1999); 11 percent, or $40 million, came from private foundations (up one Between 1987 and 1997, the number of dance compa- percent from 1999); and 23 percent, or $88.6 million, of nies in the nonprofit sector grew by 93 percent, with the 2000 income came from individual contributions (up one largest concentrations of dance companies in the percent from 1999). Earned income from performances Northeast and the West. The growth in dance companies was 42 percent, or $157.5 million, of total income in even outpaced U.S. population growth. Heaviest concen- 2000 (up one percent from 1999), and 13 percent, or trations of companies are in New York, California, Florida, $48.7 million, came from sales and other activities (down and Massachusetts. Growth rates slowed in the early and three percent from 1999) (Munger, 2002a). mid-1990s, increased in 1996 and 1997, and in 2003—like the rest of the arts—slowed as a result of It is well known that dance companies make more (or lose both the economic recession and the effects of the terror- less) money touring than staying at home. In 2002, tourist attacks of September 11, 2001 (Smith, 2003). ing accounted for four percent of annual revenue for large ballet companies, five percent of total revenue for medi- REGIONAL CONCENTRATION um-sized ballet companies, 32 percent of total revenue for large modern companies, and 28 percent for medium- In 1997, there were 2.4 dance companies for every one sized modern and chamber ballet companies.157 million residents in the Northeast region of the U.S., and However, touring has become increasingly unpredictable 1.6 in the West. The Midwest and the South recorded and less remunerative in the recent past.158 0.97 and 0.87 respectively. Little information is available on ethnic companies, often FINANCES referred to in the U.S. as indigenous or community companies or groups. In comparison to the 75 most visible Forty-two percent of total income for dance companies in companies mentioned earlier, sources of income for eth- 2000 was from performances, and 23 percent came from nic companies in San Francisco in 2001 were quite dif- individual contributions. ferent. The percentages in this chart indicate how many companies in each group reported receiving or using Throughout the late 1990s, average income and expens- income of any amount in the category listed. As the last es for dance companies grew, and in 1999, average two items in the table indicate, ethnic companies are income for dance companies grew by 13 percent, reach- more likely to be presented than to self-produce (Munger ing nearly $663,000 (Smith, 2003). Between 1989 and and Smigel, 2002). 1999 growth in earned income (including ticket and other sales) outpaced growth in unearned income and contributions. At the same time, government and business support for dance companies decreased while contributions from individuals rose; by 1997 individual giving accounted for 36 percent of dance companies’ budgets. Contributions from the dance budget of the National Endowment for the Arts totaled $2.7 million in 1996, down from $5.7 million in the period 1988–1995 (Smith, 2003).

In 2000, the 75 most visible dance companies in the United States reported a combined operating budget of 157 E-mail correspondence with John Munger, Research and Information, Dance/USA, October 2003. $377.8 million (a 6.5 percent increase over 1999) and 158 Douglas Sonntag. foreword to Smith, 2003.

PG 198 Making Changes DANCE IN THE UNITED STATES

Income For Dance Companies Sources of Income Ethnic Companies Other Companies Government grants 31% 45% Corporate grants 9% 23% Private foundation grants 24% 57% Individual donations 46% 69% Artist pays from own pocket 65% 67% Sale of tickets (by self) 46% 77% Fees from presenters 78% 43%

BALLET COMPANIES RECEIVE GREATER CONTRI- the census count. These numbers are therefore conserva- BUTIONS tive estimates of the total number of dancers in the U.S.

Ballet companies receive $50,000 to $100,000 more in In 1999, dancers’ median annual wage was $8,500, contributions annually than non-ballet dance groups. with a median of 39 weeks of full-time work and a 9.1 (Smith, 2003). percent unemployment rate (NEA, 2001). The average 1999 earnings of professional dancers ranged from $427 NUMBER OF DANCERS a week (for a dancer in a medium-sized company) to $816 a week (for a dancer in a large company) (Munger, Despite the fact that dancers remain grossly underpaid, 2001). The 75 largest and most visible companies the number of dancers in the United States continues to employed 4,677 full-time and 5,262 part-time dancers grow. for a total of 9,939 in 2000. This represents an increase from 1999, although mostly in part-time positions According to a recent RAND report, Performing Arts in a (Munger, 2002a). Large ballet companies posted con- New Era, three trends describe the population of dancers tracts of 39–40 weeks a year during the period in the United States: (1) their numbers are growing; (2) 1997–2000, and large modern companies reported con- even though dancers’ compensation is at the same low tracts of 40–42 weeks a year for the same period level it was in the 1970s, dancers continue to devote (Munger, 2002b). themselves to the profession; (3) commercial-sector superstars distort the picture of dancers’ incomes, since a Commercial dancers often earn higher wages than other few well-known people earn high incomes while the rank- dancers and receive other benefits as well. A dancer’s and-file continues to be underpaid (Hanna, 2002). weekly salary in 2003, for example, in one Broadway theater ranged between $1,250 and $1,500.159 Additional Dancers represented 20,880 of the 1.6 million artists in benefits include comprehensive health insurance, dance- the 1990 U.S. Census and 28,000 of the 2.1 million training reimbursement, gym and fitness discounts, work- artists in the 2000 census (NEA 2002). In both 1990 ers compensation, financial aid for retraining, and retire- and 2000, dancers represented 1.3 percent of the total ment benefits. artists in the United States. These figures include artists who identify themselves as dancers and who made a liv- Actors’ Equity Association (AEA), the American Federation ing during the reference week when the Census was con- of Television and Radio Artists (AFTRA), the American ducted. It is important to note that dancers who did not earn money during the reference week do not appear in 159 Personal memo, October 2003.

The aDvANCE Project PG 199 According to Dance/USA and the Journal of Dance PART TWO: XI Education, in 1986, 250 colleges and universities offered dance major and minor programs. In 2001, that number, Guild of Musical Artists (AGMA), the American Guild of according to the Journal of Dance Education, had nearly Variety Artists (AGVA), and the Screen Actors Guild (SAG) tripled and included 717 colleges and universities are all national labor unions that represent dancers. (Bonbright, 2002). The Dance Magazine College Guide AGMA’s total membership of 7,000 contains an estimat- (2001-2002) lists 161 undergraduate dance programs ed 1,450 current dancers. and 24 graduate programs in dance, and the Stern’s Performing Arts Directory lists 609 college and universi- DANCE AUDIENCES ty dance programs and 565 schools and private studios in 2002. Stern’s Directory publisher Barbara Paige Audiences for large ballet and medium-sized modern Kaplan notes that this is a very conservative figure and companies have declined over the past decade. estimates that there are closer to 12,000 private dance schools nationwide.160 According to Dance/USA, audiences for large ballet companies have been declining since 1995. In 2000, total The National Dance Association (NDA) is a nonprofit home audiences averaged 175,670 per company com- organization of professional dance educators in the U.S. pared to an average exceeding 230,000 per company in dedicated to addressing critical issues in dance education. the early 1990s. Per performance, audiences averaged The NDA supports a membership network of 2,000 indi- 2,067 per company in 2000, the lowest level in 10 vidual dance educators, institutional and affiliate mem- years, and since 1997 attendance as a percentage of bers, and serves as a resource for federal and state agen- available seats has remained at 71 percent (Munger, cies and arts and education organizations. NDA members 2002b). wrote the dance portion of the National Standards for Arts Education published in 2000, which are distributed The decline, although less apparent for medium-sized to the educational and dance communities and used as a ballet companies, has also affected their audiences since model and reference for state dance standards throughout the early 1990s. Home attendance averaged 40,000 per the U.S. (National Dance Association, 2003). company from 1997 to 2000, and average attendance per performance was 1,395 in 2000. Attendance as a The 2001 National Dance Association Directory lists 52 percentage of available seats has been around 65 percent programs from two-year and four-year universities, profes- over the past 10 years. Although this situation is stable, sional preparation programs, conservatories, and private the attendance figures have decreased since the early to dance studios. The largest concentration (12 percent) of mid-1990s and remain lower than those of large ballet dance programs in the U.S. is in Ohio. The second great- companies (Munger, 2002b). est concentration of dance programs is in California, with eight percent, followed by Florida, Massachusetts, New PERFORMING ARTS VENUES York, North Carolina, and Texas—each with six percent.161 Throughout the country, Bachelor of Arts (BA), The Association of Performing Arts Presenters reported Bachelor of Fine Arts (BFA), Master of Arts (MA), and 1,600 members in 1999. Of these, 76 percent included Master of Fine Arts (MFA) degrees are offered in American dance—primarily modern and folk dance—in their pro- dance studies, choreography and performance, dance, gramming. Presenters for dance include educational insti- dance certification, dance education, dance and move- tutions (37 percent), arts and civic centers (13 percent), ment therapy, design, musical theater, and world arts and and local arts agencies (seven percent) (Hanna, 2002). cultures (National Dance Association, 2003).

EDUCATION In addition to college and university programs, of the 18 dance companies represented by AGMA, 17 have a dance According to the Journal of Dance Education, the number school associated with them. Major dance companies of colleges and universities that offer dance major and minor programs in the U.S. increased from 250 in 1986 160 Interview with Barbara Paige Kaplan, Publisher, Stern’s Directory and Dance Magazine, August 21, 2002. to 717 in 2001. 161 Ibid.

PG 200 Making Changes with affiliated schools include the School of American DANCE IN THE UNITED STATES Ballet (affiliated with the New York City Ballet), Martha Graham School of Contemporary Dance, the Ailey School and the Joffrey Ballet Center. transition centers in the world. With offices in New York and Los Angeles, the CTFD serves dancers free of charge FUNDING FOR ARTS EDUCATION through educational and entrepreneurial grants, career counseling (including toll-free nationwide career counsel- Despite a reduction in the National Endowment for the ing), skill seminars, focus and support groups, national Arts (NEA) budget and staff in 1996, arts education networking directory, dancers’ resource centers in each remained a priority, becoming one of four major categories office location, national and local outreach projects, com- in which grants to nonprofit organizations and school dis- puter literacy instruction and relationship building. tricts were awarded. In 2003, the NEA planned to con- solidate the various arts education grant programs, lead- In addition to the CTFD, many individual dance compa- ership initiatives, and partnership efforts at the federal nies have assisted dancers in the transition process. For and state levels into a focused Arts Learning Initiative (see example, the New York City Ballet and Alvin Ailey http://www.nea.gov). American Dance Theater participate in “Dance On,” a program started in 1992 to support active dancers wish- TRANSITION FACILITATION ing to get academic degrees at Fordham University in New York City; Houston Ballet requires that its dancers The U.S. has a number of programs for dancers in career participate in a four-session public speaking course; San transition—including one of the world’s four career transi- Francisco Ballet started a “Surviving Your Apprenticeship tion centers—which reflects a high level of awareness and Year” seminar for its academy graduates and, in the commitment to transition facilitation. 1980s, had a backstage career transition program; and Pittsburgh Ballet Theatre is piloting a mandated course With funding from Ford Foundation program officer W. for its dancers in set and lighting design. McNeil Lowry, a program was begun in the 1950s with the American Symphony Orchestra League to help young The performers’ unions listed above have also taken an managers train to work with arts organizations and com- interest in career transition. For instance, union members panies. Young transitioning dancers like Harvey are eligible for reduced-price medical treatment for per- Lichtenstein, later the leader of the Brooklyn Academy of former’s injuries at the Miller Health Care Institute for Music, took an active part in this pioneering program. Performing Artists in New York City, one of many performing arts medical centers in the U.S. AGMA’s Dancers’ Several studies of performing artists’ particular transition Committee helps to negotiate dancers’ contracts and acts challenges have since been conducted. In 1981, Alice as a problem-solving group, and providing career transi- Beamsderfer of Cornell University’s School of Industrial tion information to AGMA companies is a task that falls and Labor Relations conducted a study of performing within its mandate. Union members are also eligible for artists’ career counseling needs. In 1983, Dr. Judith financial assistance to retrain in other careers through the Kupfersmith, a psychiatrist and former dancer, began the Actors’ Work Program of the Actor’s Fund of America, a Performing Arts Center for Health at Bellevue Hospital in national service organization. (See Section IV of Part One New York City and conducted a survey of major health- and Appendix A of Part Two of this report for additional care issues and health service needs of artists, especially information about CTFD.) dancers. She and dance critic Marion Horosko wrote the Dancer’s Survival Manual as a result. Some years later, Dance Theater Workshop produced a similar manual. In the mid-1980s, Ellen Wallach conducted a study called Life After Performing, which was sponsored by Dance/USA and the Boston Ballet.

An organization called Career Transition For Dancers (CTFD), founded in 1985, is one of four formal career

The aDvANCE Project PG 201 PART TWO: XI

DATA FOR THE U.S.

INFORMATION ABOUT DANCE COMPANIES

Number of Non-Profit Dance Companies, 1986-1999

400

350

300

250

200

# Companies 150

100

0 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 Year Total Dance Companies-EC Total Dance Companies-NEA-DA Total Performing Dance Companies-UDAO

Source: 1987, 1992, and 1997 Economic Census, 2001 NEA-DA, and 2000 UDAO (Smith, T. 2003).

The table shows the number of dance companies recorded by the U.S. Economic Census (EC), National Endowment for the Arts—Dance Applicant (NEA-DA), and Unified Database of Arts Organizations (UDAO). The Economic Census is conducted every five years, which accounts for the gaps between 1987,162 1992, and 1997. The dance companies in the UDAO include groups actively involved in performance, as well as groups engaged in teaching, training, service, and other activities separate from performance. For the purpose of this analysis, the observations from the UDAO include only those companies that list performance as a primary, secondary, or tertiary activity.

162 The gap between the NEA-DA and the EC in 1987 is probably a result of under- counting in the Economic Census that year. Better counting techniques in the later two census years enabled this data set to become more comprehensive with respect to the number of nonprofit dance companies.

PG 202 Making Changes DANCE IN THE UNITED STATES

Number of Tax-Exempt Dance Companies by Region and Genre, 1987-1997 Region Genre 1987 1992 1997 Northeast Ballet 20 24 21 Modern 18 31 47 Folk, ethnic, jazz, and tap 4 16 11 Not designated 23 18 45 Northeast Total 65 89 124 North-Central Ballet 18 24 26 Modern 6 7 13 Folk, ethnic, jazz, and tap 2 10 5 Not designated 10 10 17 North-Central Total 36 51 61 South Ballet 23 36 49 Modern 5 7 7 Folk, ethnic, jazz, and tap 0 5 2 Not designated 10 18 24 South Total 47 66 82 West Ballet 17 24 31 Modern 4 13 21 Folk, ethnic, jazz, and tap 5 8 12 Not designated 14 27 32 West Total 40 69 96 USA Ballet 78 108 127 Modern 33 58 88 Folk, ethnic, jazz, and tap 11 39 30 Not designated 66 70 118

Total Tax-Exempt Dance Companies 188 275 363

Source: 1987, 1992, and 1997 Economic Censuses (Smith, 2003).

The aDvANCE Project PG 203 PART TWO: XI

Number and Genre of Nonprofit Dance Companies, 1986-1999 Year Ballet Ethnic Modern Other Total 1986 45 20 132 13 210 1987 49 25 129 13 216 1988 51 25 127 15 218 1989 47 24 122 13 206 1990 45 27 109 14 195 1991 51 32 105 16 204 1992 50 30 111 15 206 1993 53 28 111 13 205 1994 53 28 96 8 185 1995 38 29 81 11 159 1996 36 29 71 12 148 1997 49 31 78 16 174 1998 56 27 105 13 201 1999 44 29 96 8 177 Source: 2001 NEA-DA (Smith, 2003, draft report). This table shows the number of nonprofit dance companies by genre between 1986 and 1999 enumerated by the National Endowment for the Arts–Dance Applicant (NEA-DA). Although this data set is not a census of all tax-exempt dance companies, it does provide a thorough and consistent view of the genre throughout a considerable time frame.

Number and Growth of Dance Companies, 1989-1999 Number of % Growth Between Year Dance Companies Previous and Current Year 1989 236 ---- 1990 247 4.7 1991 278 12.6 1992 311 11.9 1993 317 1.9 1994 323 1.9 1995 328 1.6 1996 358 9.2 1997 360 0.6 1998 359 -0.3 1999 356 -0.8 Source: 2000 UDAO (Smith, 2003).

PG 204 Making Changes DANCE IN THE UNITED STATES

Number of Non-Profit Dance Companies by Genre, 1994163 Genre Number of Companies % of Total Classical ballet 228 35 Modern/contemporary 284 44 Indigenous/folk 84 13 Other 54 8 Total 650 100

Number of Non-Profit Dance Companies by Genre and Size, 1994164 Genre Company Size Budget Size Number of Companies Classical ballet Small <$1 million 175 Medium $1-$6 million 40 Large >$6 million 14

Modern/contemporary Small <$250,000 235 Medium $250,000-$1 million 30 Large >$1 million 16

Indigenous/folk Average >$500,000 10

The definition of professional dance company here includes only those companies that are visible on a regional level. The number of companies that define themselves as professional would include 400-500 in San Francisco alone. Approximately 2,500- 3,000 dance companies are doing serious work, using trained dancers, and putting their work in front of audiences. These figures do not include commercial/show dance.165

163 Email correspondence with John Munger, Research and Information, Dance/USA, 7/8/2002. 164 Ibid. 165 Ibid.

The aDvANCE Project PG 205 PART TWO: XI

INFORMATION ABOUT DANCERS

Number of Dancers, 1998-2000 2000 20,900 dancers 1999 14,910 dancers 1998 18,630 dancers and choreographers Source: U.S. Department of Labor, 2002b.

Number of Dancers by Genre, 1994 166 Genre Number of Dancers % of Total Classical 4,790 57 Modern/contemporary 1,990 24 Indigenous/folk 1,260 15 Other 380 4 Total 8,420 100

Number of Dancers by Race and Gender, 1990167 Total Number of Dancers 21,913 Male 5,097 Female 16,816 White 17,678 Black 1,588 Hispanic 1,600 Asian 791 White males 3,698 Black males 557 Hispanic males 555 Asian males 230 White females 13,980 Black females 1,031 Hispanic females 1,045 Asian females 561 Source: U.S. Department of Labor, 2002a.

166 Ibid. 167 “Other” categories are not included in this table and account for discrepancies in total numbers of males and females by race.

PG 206 Making Changes DANCE IN THE UNITED STATES

Dancers’ Annual Income, 2000 Median wage $22,470 Lowest 10% < $12,520 Middle 50% $14,260 - $34,600 Highest 10% > $55,220 Source: U.S. Department of Labor, 2002c.

Dancers’ Income, 1998-2000 Year Employees Median Hourly Wage Mean Hourly Wage Mean Hourly Wage 2000 Dancers $10.80 $13.44 $27,950 1999 Dancers $11.90 $9.42 $24,750 1998 Dancers and $10.30 $12.18 $25,330 Choreographers Source: U.S. Department of Labor , 2002b.

Dancer’s Income by Genre and Company Size, 1992-2000 169 Classical Ballet Year Company Size Average Working Principal Soloist Corps Weeks/Year 2000 Budget 39 $1,400/week $890/week $725/week > $6 million $54,600/year $34,700/year $28,275/year Budget 34 $770/week $590/week $470/week $1-$6 million $26,180 year $20,100/year $16,000/year 1995 Budget 39 $1,190/week $757/week $616/week > $6 million $46,410 year $29,504/year $24,034/year Budget 34 $655/week $502/week $400/week $1-$6 million $22,253/year $17,051/year $13,583/year 1992 Budget 39 $1,106/week $703/week $573/week > $6 million $43,134/year $27,421/year $22,337/year Budget 34 $608/week $466/week $371/week $1-$6 million $20,682/year $15,847/year $12,624/year

168 Email correspondence with John Munger, Research and Information, Dance/USA, 7/8/2002. Data for dancers’ incomes are not available for culturally specific companies, other companies, and small companies of all genres. Therefore, statistics provided here reflect only an elite minority of the dance population and not dancers in general.

The aDvANCE Project PG 207 PART TWO: XI

Modern/Contemporary 169 Year Company Size Average Working Company Members Weeks/Year 2000 Budget 38 $590/week > $1 million $22,500/year Budget 27 $420/week $250,000-$1 million $11,350/year 1995 Budget 38 $413/week > $1 million $15,694/year Budget 27 $294/week $250,000-$1 million $7,938/year 1992 Budget 38 $531/week > $1 million $20,178/year Budget 27 $378/week $250,000-$1 million $10,206/year

FINANCING

Share of Tax-Exempt Dance Company Revenue by Source 1987 1997

Contributions: Business and Industry Contributions: Foundations Contributions: Individuals Contributions: Other Government Sources Contributions: National Endowment for the Arts Other amounts from patrons, customers, and contract fees Contract Fees for Entertainment Admission Receipts

0.00% 5.00% 10.00% 15.00% 20.00% 25.00% 30.00%

Source: 1987 Economic Census (Smith, 2003).

169 Ibid.

PG 208 Making Changes DANCE IN THE UNITED STATES

Share of Total Revenue by Source for Dance Companies by Size, 2000170 Budget > $1million Budget $1-$5 million Box office revenue 42% of income 34.0% of income Other earned income 13% of income 13.2% of income Government contributions 4% of income 4.2% of income Corporate contributions 7% of income 7.3% of income Private foundations 11% of income 12.6% of income Individual contributions 23% of income 24.9% of income Other --- 3.8% of income Total earned income 55% of income 47.2% of income Total unearned income 45% of income 52.8% of income

Comparison of Funding for the Arts: Foundation, Federal, State, and Local Support, 1983-2001

Dollar figures in thousands

Year Foundations National State Arts Local Arts Endowment Agencies Agencies for the Arts (NEA) 1983 $658,429 $131,275 $123,634 N/A 1986 $805,770 $143,715 $195,598 N/A 1989 $1,076,009 $150,650 $270,697 $500,000 1992 $1,357,857 $154,563 $213,432 $600,000 1995 $1,633,115 $147,908 $265,559 $630,000 1998 $2,980,492 $82,261 $303,191 $700,000 2001 $4,197,567 $92,625 $446,834 $800,000

Source: Lawrence and Renz, 2003.

170 Ibid.

The aDvANCE Project PG 209 PART TWO: XI

National Endowment for the Arts (NEA) Budget and Allocation To Dance Companies, 1988-2001 Grant Year Average Dance Total NEA Total NEA % NEA Grant Grants To Dance Appropriations Budget To Dance (in millions) (in millions) 1988 $53,280 $5,648 $167,731 3.4 1989 $49,872 $6,035 $169,090 3.6 1990 $48,728 $5,994 $171,255 3.5 1991 $54,198 $5,631 $174,081 3.2 1992 $46,815 $5,618 $175,955 3.2 1993 $51,119 $5,572 $174,459 3.2 1994 $49,221 $5,562 $170,288 3.3 1995 $55,582 $5,447 $162,311 3.4 1996 $30,278 $2,725 $99,470 2.7 1997 $59,474 $3,450 $99,494 3.5 1998 $29,544 $2,334 $98,000 2.4 1999 $23,414 $2,178 $97,966 2.2 2000 $19,009 $2,167 $97,688 2.2 2001 $16,537 $2,001 $104,769 1.9 Source: 2001 NEA-Dance Applicant and NEA Dance Department (Smith, 2003).

NEA Average Dance Grant Awarded (in constant 1992 dollars), by Genre, 1988-2000 Grant Average Average Average Average Year Ballet Grant Modern Grant Ethnic Grant “Other” Grant 1988 $120,760 $48,730 $19,958 $20,794 1989 $106,343 $43,788 $19,302 $24,816 1990 $99,907 $44,271 $16,388 $16,531 1991 $92,479 $50,769 $17,193 $18,131 1992 $78,175 $41,974 $15,182 $17,560 1993 $89,055 $46,494 $16,199 $15,346 1994 $75,704 $44,784 $17,332 $16,126 1995 $76,671 $52,753 $18,100 $16,072 1996 $35,282 $30,195 $10,712 $11,400 1997 $74,968 $53,659 $25,732 $33,784 1998 $39,512 $26,446 $11,250 $16,315 1999 $30,480 $20,719 $7,898 $10,970 2000 $20,671 $17,209 $8,987 $9,653 Source: 2001 NEA-Dance Applicant (Smith, 2003).

PG 210 Making Changes DANCE IN THE UNITED STATES

State Arts Agency Total Grant Making and Dance Grant Making, 1990-2000 Fiscal Total Number Total Total Number Dance Year Grants Awarded Dollars Awarded Dance Grants Awarded Dollars Awarded 1990 29,366 $244,155,091 2,305 $17,934,865 1991 27,215 $216,608,939 2,066 $15,656,570 1992 26,705 $179,287,247 1,936 $12,355,858 1993 25,698 $181,744,314 1,741 $11,493,782 1994 26,998 $234,844,949 1,915 $13,103,224 1995 27,658 $240,132,813 1,885 $12,060,888 1996 28,805 $229,985,985 1,916 $14,278,782 1997 25,559 $210,667,169 1,642 $11,344,258 1998 25,927 $241,671,435 1,627 $11,822,084 1999 27,811 $269,987,783 1,667 $13,832,118 2000 28,021 $287,284,865 1,661 $14,771,340 Source: National Assembly of State Arts Agencies, 2003. In 2003, state arts agency (SAA) legislative appropriations showed decreased funds for the second straight year, following a decade of steady growth. As state budgets adjusted to decreased revenues, aggregate SAA appropriations dropped from $408.6 million in fiscal year 2002 to $354.9 million in fiscal year 2003, a 13.1 percent decrease. Total appropriations in fiscal year 2003 bring per-capita spending to $1.21, which is down 21 cents from last year’s amount of $1.42 (National Assembly of State Arts Agencies, 2003).

The aDvANCE Project PG 211 PART TWO: XI

AUDIENCE

Ballet Attendance by Demographic Group, 1992 and 2002 2002 2002 1992 2002 Adult Population Adult Population Ballet Ballet (in millions) (in millions) Attendees Attendees

185.8 205.9 8.7 8.0

Distribution Rates

Sex Male 47.9% 47.9% 37.1% 31.1% Female 52.1% 52.1% 62.9% 68.9%

Age 18-24 13.0% 13.0% 14.8% 8.8% 25-34 22.8% 17.9% 23.5% 16.3% 35-44 24.1% 21.5% 22.5% 27.3% 45-54 14.9% 18.9% 16.0% 25.1% 55-64 11.4% 12.6% 11.8% 10.8% 65-74 9.8% 8.5% 8.7% 7.3% 75+ 6.6% 7.5% 2.7% 4.3%

Education Grade school 7.7% 5.6% 1.0% 0.6% Some high school 10.0% 9.8% 3.0% 2.0% High school graduate 37.4% 31.0% 16.9% 10.2% Some college 21.1% 27.6% 27.2% 27.4% College graduate 14.1% 17.5% 27.3% 32.1% Graduate school 9.7% 8.5% 24.5% 27.7%

Source: NEA, 2003.

PG 212 Making Changes DEMOGRAPHICS FOR THE UNITED STATES DANCE IN THE UNITED STATES Source: U.S. Central Intelligence Agency, The World Factbook, Dance/USA, Dance in America: SnapFacts 2000, available at http://www.cia.gov.. Washington, D.C.: September 2000.

Population: Hanna, J.L., “The Performing Arts World According to 290,342,554 (July 2003 estimate) RAND: A Review of Two Studies,” Dance/USA Journal, Vol.18, Numbers 2-3, 2002. Geography: The U.S. is the world's third-largest country by geograph- Lawrence, S., and L. Renz, Arts Funding IV: An Update ical size (after Russia and Canada) and by population on Foundation Trends, New York: The Foundation Center, (after China and India). The U.S.is about half the size of in cooperation with Grantmakers for the Arts, 2003. Russia, about three-tenths the size of Africa, about half the size of South America (or slightly larger than Brazil), Levine, M., Developing the Whole Dancer: Issues and slightly larger than China, and about two and a half times Challenges for Ballet Training Institutes, Winston-Salem, the size of Western Europe. North Carolina: Kenan Institute for the Arts, North Carolina School of the Arts, 2002. GDP per capita: $37,600 (purchasing power parity, 2002 estimate) Munger, J., “Dancing with Dollars in the Millennium,” Dance Magazine, April 2001. Source: U.S. Census Bureau, http://www.census.gov. , Field at a Glance: Dance, working paper, 2000 Mean earnings for people who worked year-round, June 6, 2002a. ages 21–64 = $32,717 , “Staying the Course: Highlights of the 2000 2002 Mean household monetary income in the U.S. = Data Survey,” Dance/USA Journal, Vol.18, Numbers 2-3, $42,409 2002b.

2002 Per-capita monetary income = $22,794 , and L. Smigel, Dance in the San Francisco Bay Area: A Needs Assessment, Washington, D.C.: SOURCES Dance/USA, 2002.

The Actor’s Fund of America, The Actor’s Work Program, National Dance Association (an association of the http://www.actorsfund.org accessed 10/27/03. American Alliance for Health, Physical Education, Recreation and Dance), Dance Directory 2001, available Bonbright, J., “The Status of Dance Teacher Certification at http://www.aahperd.org/nda/template.cfm?tem- in the United States,” Journal of Dance Education, Vol. 2, plate=main.html, accessed October 2003. No.2, 2002. National Endowment for the Arts (NEA), Artist Brooks, A., J. Lowell, K. McCarthy and L. Zakaras, Employment in 2001, Washington, D.C.: May 2002. Performing Arts in a New Era, Santa Monica, California: RAND, 2001. , Survey of Public Participation in the Arts (SPPA) 2002, Washington, Dance Magazine College Guide 2001–2001, U.S.: D.C.: July 2003. Dance Magazine Inc. 2001. National Assembly of State Arts Agencies, Legislative Dance Magazine Stern’s Directory 2002, U.S.: Dance Appropriations Annual Report: FY 2003 Update, avail- Magazine Inc. 2002. able at http://www.nasaa-arts.org/publications/ legapp.shtml, accessed October 2003.

The aDvANCE Project PG 213 PART TWO: XI

Smith, T., Raising the Barre: The Geographic, Financial, and Economic Trends of Nonprofit Dance Companies, Washington, D.C.: National Endowment for the Arts, 2003.

U.S. Department of Labor, Bureau of Labor Statistics, 1990 Equal Employment Opportunity File—U.S.— Professional Specialty Occupations 043-202, available at http://www.bls.gov.oes, accessed May 2002a.

, National Occupational Employment and Wage Estimates, available at http://www.bls.gov.oes, accessed May 2002b.

, Occupational Outlook Handbook, available at http://www.bls.gov.oes, accessed May 2002c.

PG 214 Making Changes another field is provided during the performer’s dancing career or during pre-career training. But apparently much more common is at least partial financing of formal study in another field after retirement from dance. The frequen- Appendix A: cy with which this latter approach is adopted appears to indicate general agreement about its promise and importance for the former dancer’s welfare. Aside from illustra- SOME DANCE tions of such helpful practices, the set of examples includes several practices that were apparently unsuc- cessful and were in fact discontinued. An example is CAREER additional fundraising performances at the end of a dance company’s regular season, a practice that seems TRANSITION to have proven particularly likely to lead to injuries because the performers were exhausted by their demanding dance schedule during the just-completed PROGRAMS season. BEYOND THE FOUR I. DANCE COMPANIES: TRANSITION INITIATIVES, PARTNERSHIPS WITH UNIVERSITIES, AND SCHOLARSHIPS FORMAL CENTERS (1) ALVIN AILEY AMERICAN DANCE THEATER, NEW YORK CITY, U.S. (http://www.alvinailey.org)

Dancers Resource Fund. Each year a percentage of the net revenue from one performance is devoted to the Alvin ection IV of Part One of this report provided Ailey Dancers Resource Fund, which operates under the detailed descriptions of the four formal dancer company’s Section 501(c)(3) tax-exemption status. In S career transition centers that are located in some years, the company’s dancers have raised addition- Canada, the Netherlands, the U.K. and the U.S. This al money, but normally the fund amounts to a few thou- appendix provides our more extensive list of other dance sand dollars. The Fund gives money to a current or for- career transition programs currently available in many mer dancer for a “project for the dancer’s next step” countries. The list is broken down by type of organiza- (e.g., one dancer created a photography book). tion, including dance companies, dance schools, service, labor, and membership organizations, and government Alvin Ailey and Bachelor of Fine Arts (BFA) at Fordham initiatives. University. The Alvin Ailey School and Fordham University are partners in a Bachelor of Fine Arts (BFA) Before turning to the descriptions of individual programs, degree program in dance. This degree program combines we should emphasize that even this more extensive sam- the artistic preeminence of the official school of the Alvin ple of dancer transition programs is probably not compre- Ailey American Dance Theater with a liberal arts educa- hensive and is intended to focus upon what appear to be tion (Source: Alvin Ailey American Dance Theater). the best practices currently available. Thus, the program descriptions cannot be considered representative, but are (2) AMERICAN BALLET THEATRE, NEW YORK intended, rather, to offer some valuable insights. They CITY, U.S. (http://www.ABT.org) draw attention to a number of promising methods for facilitation of transition, for example, training simultane- American Ballet Theatre (ABT) provides its dancers with ously for dance activity itself and for some other field an exit pay benefit negotiated as part of its collective bar- such as dance teaching, in order to prepare for a possi- gaining agreement with the Independent Artists of ble post-transition career. Sometimes this training in America (see below). The company is currently working

The aDvANCE Project PG 217 The application must be submitted while the dancer still APPENDIX A an employee of the company or within one year of leaving the company. The applicant must propose a bona fide with the national transition center, Career Transition for course (defined as a formal training program at an estab- Dancers (CTFD), to develop a college program for its lished and accredited institution for education and train- dancers. ABT dancers also have access to their own ing or such other course as approved by the committee) Dancers Emergency Fund, which was created in 1984. and demonstrate its relevance to a new career. If consid- The fund is an account supervised by an elected commit- ered necessary, the committee may assist the applicant tee of ABT dancers. Although the fund does not provide via discussion of course alternatives, provision of addi- specific grants for career transition, it is available to ABT tional information and reference to career guidance serv- dancers facing hardships, including those that may lead ices. to accelerated career transition, such as a serious injury. The annual sale of dancers’ autographed pointe shoes is If satisfied that the application meets the objective of the the primary source of funding for the fund. fund, the committee can make a grant not exceeding AU$4,750 (U.S.$3,436). Each applicant is entitled to (3) AUSTRALIAN BALLET, AUSTRALIA one grant only from the fund. The grant is paid directly to (http://australianballet.com.au) the institution offering the course, covering no more than 60 percent of total fees (defined as tuition, accommoda- Retraining Assistance Fund. The Retraining Assistance tion and other fees, including mandatory charges for Fund was established by the Australian Ballet in the early required texts, materials and services provided as part of 1990s and made its first grant to a dancer in 1995. Since a course) and extending over the duration of the course. then, approximately ten dancers have received career The committee reviews the results of the first assessment transition assistance from the fund. The purpose of the in the course before further fees are paid. If the applicant fund is to assist employees of the Australian Ballet with does not proceed with the intended course, and a refund payment of fees for courses intended to prepare them for of fees is available from the institution, the refund is made new careers—particularly dancers who wish to retire from to the fund. Thereafter, the applicant may make one more full-time dancing. application for assistance and the committee may provide an amount no greater than the amount of the refund to The fund is managed by an Advisory Committee, appoint- the new application (Source: Country profile of Australia ed by the Board of the Australian Ballet, and is made up above; and http://www.australianballet.com.au). of two members of the company’s Board; one former employee of the Australian Ballet (not a Board member); (4) BIRMINGHAM ROYAL BALLET, BIRMINGHAM, one dancer, a full-time employee of the Australian Ballet U.K. (http://www.brb.org.uk) with at least eight years’ service in the company, elected by the dancers; and an independent Convenor. The com- Dancers’ Degree Course. Company dancers at the pany administers the Advisory Committee. Birmingham Royal Ballet (BRB) can participate in a program in Applied Studies in Dance designed to build on The fund received an initial contribution of AU$10,000 their professional experience and fit in with their touring from the Australian Ballet, and has subsequently raised performance schedule. The three-year, part-time course additional money from individuals, corporations and trust can lead to an Advanced Certificate in Education after one funds; grants from the government; special events; and a year, a B.Phil. degree if they undertake a second year and performance (no more than one per year) added to the an M.A. degree if they choose to study for three years. company’s normal schedule for the specific purpose of The program is accredited and delivered by the University raising income for the fund. The fund is administered as of Birmingham. Nine dancers have gained M.A.s, one a a capital endowment, the earnings of which provide the B.Phil. and two Advanced Certificates in Education. money for its operations. Currently, two dancers are completing the B.Phil. and three are writing their M.A. dissertations. Any employee of the Australian Ballet who has at least eight years’ service (of which at least five years are continuous) is eligible to apply for assistance from the fund.

PG 218 Making Changes Breakthrough Award. After the pilot group completed its DANCE CAREER TRANSITION PROGRAMS degrees at the University of Birmingham, BRB received a Breakthrough Award for continuing development of dancers. This award funded a new computer library with not become a threat to dancers, but instead is part of the several computers, available to all dancers, but with pri- progression of their career. Personal development is there- ority to degree students. The Breakthrough Award also fore an ongoing agenda of the company. At the start of funded a one-year, full-time position in the Education each season, there is an orientation program with a num- Department at BRB. This was intended to provide experi- ber of opportunities for personal advancement and, at the ence for a student with a degree. The Breakthrough end of each season, the artistic director and personnel Award has also funded other artist development activities, director have a confidential conversation with each including English classes for foreign students, a manage- dancer regarding his or her future goals (Source: English ment course and individual counseling for career develop- National Ballet, http://www.ballet.org.uk). ment. (8) ESCUELA DEL BALLET FOLKLÓRICO DE Source: Birmingham Royal Ballet, http://www.brb.org.uk. MÉXICO DE AMALIA HERNÁNDEZ, MÉXICO (http://www.balletamalia.com) (5) BOSTON BALLET, BOSTON, MASSACHUSETTS, U.S. (http://www.bostonballet.org) The Escuela del Ballet Folklórico de México de Amalia Hernández (School of the Folkloric Ballet of Amalia Dancers Resource Fund. Run by dancers, the Boston Hernandez), founded in 1968, maintains two training Ballet Dancers Resource Fund raises $8,000–10,000 programs, Infantil I and Infantil II, for children between from one performance per year, in which the company the ages 6–9 and 9–13, respectively. At age 14, the stu- pays the production costs. The total fund is $100,000 dent may choose to continue for a period of three years and it supports non-interest-bearing loans, and scholar- and receive a certificate as a folkloric dancer. Depending ships for transition out of the company. on the student’s aptitudes, the school offers the option of continuing for one or two more years and become a folk- Degree program with the University of Massachusetts. A loric dance teacher. This plan allows a dancer, at a very reciprocal arrangement between the Boston Ballet and young age, to develop simultaneously his or her capaci- the University of Massachusetts allows Boston Ballet ties both as a teacher and as performer, facilitating the dancers and staff and university students to take classes career transition process (Source: Escuela del Ballet with no fee. Some of the participants have obtain degrees Folklórico de México de Amalia Hernández, in this program (Source: Boston Ballet, http://www.balletamalia.com). http://www.bostonballet.org) (9) HOUSTON BALLET, HOUSTON, TEXAS, U.S. (6) DANCE THEATRE OF HARLEM, NEW YORK (www.houstonballet.org) CITY, U.S. (http://www.dancetheatreofharlem.com) Artists’ Reserve Fund and College Program. The Houston Dance Theatre of Harlem operates a sizable outreach pro- Ballet maintains an Artists’ Reserve Fund used for schol- gram for the families of students in training, which arships for former dancers. In addition, the company has includes one-on-one counseling, seminars and ticket sub- an arrangement with Houston Community College for any sidy for performances. The “whole family approach” helps graduate of the Houston Ballet Academy to obtain 30 create a support mechanism for dancers (Source: Levine, hours of elective credit toward a college degree. The com- 2002, and http://www.dancetheatreofharlem.com). pany also invites the University of Houston and Houston Community College to teach courses on the premises. (7) ENGLISH NATIONAL BALLET, U.K. Dancers can take classes in different subjects early in the (http://www.ballet.org.uk) morning, before their ballet classes or during lay-off periods. Classes offered have included history, English and The English National Ballet’s induction program for new mathematics. Thus, the dancers can carry out a substan- dancers provides advice on finances as well as exposure tial amount of college work while still dancing. to other art forms and life needs, so that transition does

The aDvANCE Project PG 219 (12) NEW YORK CITY BALLET, U.S. APPENDIX A (www.nycballet.com)

Summer Institute. At the Summer Institute sponsored by New York City Ballet (NYCB) is dedicated to making edu- the Houston Ballet, selected students who participate in cation affordable for dancers currently on the roster and a choreographer’s workshop are matched with emerging to providing them with opportunities to explore alternative composers from the American Festival for the Arts careers during their off-seasons. Summer Music Conservatory. The process simultaneously develops choreographic skill, musical knowledge, and col- Dance On. The “Dance On” program was designed to laborative skills. assist classical ballet dancers in the New York metropolitan area. Most, though not necessarily all, participating Public Speaking Course. Houston Ballet also offers a dancers attend classes at Fordham University. Classes are four-session required public speaking course to academy held on Monday nights when performances are rare, and students. The company recognized that many of its Fordham is flexible in adapting to dancers’ schedules. dancers, poised for stardom, were unskilled in interviews NYCB covers up to 80 percent of tuition costs, not and that effective public speaking was an important exceeding $1,750 per term. career-building skill. The company was not able to make this course mandatory for company members, but has The scholarship program awards academic scholarships required that all advanced students take the course, a for individual courses or entire programs undertaken by percentage of whom will obtain jobs in the company ballet dancers at colleges, universities, vocational training (Source: Levine, 2002, and http://wwwhoustonballet.org). facilities or with accredited private instructors. The awards are provided during dancers’ working careers, and (10) METROPOLITAN OPERA, NEW YORK CITY, are based on financial need. An impartial panel reviews U.S. (http://www.metopera.org). the process and awards take the form of grants paid directly to the schools attended, for tuition only. Dancers The ballet mistress of the Metropolitan Opera works per- may pursue courses of their own choice, and each schol- sonally with dancers to design flexible schedules and to arship award is renewable, contingent upon the individual encourage them to pursue outside studies. The terms of dancer’s plans and the availability of funds (Source: New the 2003 five-year contract provided that dancers with a York City Ballet, http://www.nycballet.com). certain number of years in the company who choose to retire are given a year of salary, along with a year of ben- (13) PACIFIC NORTHWEST BALLET, SEATTLE, efits, to use to attend school or for other purposes. At the WASHINGTON, U.S. (http://www.pnb.org) time of this writing, the company had provided such a guarantee to sixteen dancers (Source: Metropolitan Pacific Northwest Ballet (PNB) offers an “enriched cur- Opera, http://www.metopera.org). riculum” that includes modern dance, jazz, classical Spanish dance, theatre dance, music, and dance history (11) NEDERLANDS DANS THEATER, THE HAGUE, as regular and ongoing elements of study. PNB also has NETHERLANDS (http://www.ndt.nl) an extensive career counseling program with seminars Netherlands Dance Theatre (NDT) of the Hague divides discussing the auditioning process and résumé-writing its approximately 50 dancers into three companies: NDT workshops. Dancers are encouraged to finish high school I is the primary company; NDT II is a youth company and to take college classes as well. (formed in 1977) that aims to train younger dancers for NDT I; and NDT III (formed in 1991) was specially set up For ten years, PNB struggled with a career transition pro- for older dancers. A long-time member of the primary gram called “Beyond Dance” that was not very effective company initiated NDT III, which consists of four to six and was ultimately terminated. Francia Russell, one of dancers approximately 40 years of age. The repertoire, PNB’s artistic directors and director of PNB’s ballet specially created for these older dancers, includes work school, speculates that the program design was too “top- by noted choreographers (Source: Nederlands Dans down” in its approach: “Our dancers felt it was forced on Theater, http://www.ndl.nl). them. Sometimes there would be a financial planning seminar and Kent [Stowell, another artistic director at

PG 220 Making Changes PNB] and I would be the only ones in the room. DANCE CAREER TRANSITION PROGRAMS Somehow, they didn’t really believe us when we said it was important and that participation wasn’t a sign they were less dedicated.” Recently, company members, with endeavors. This program has two components: the Tuition the support of the artistic directors and the board, have Assistance Plan (TAP) and “Exploring New started their own transition program, entitled “Second Opportunities.” TAP offers financial assistance (up to a Chance.” A committee of six company members spear- maximum of $2,500 per calendar year) towards courses heads planning and fundraising efforts. Components of or programs that are related to an alternate career. the developing program include a partnership with a “Exploring New Opportunities” provides adult career plan- Seattle-based life renewal organization, where dancers ning information and course offerings, self-study and ref- can take courses or seek one-on-one assistance; comput- erence materials, and other research materials to explore er classes on site; a grant program to support training and options for a second career (Source: Radio City Music other ventures; and a pilot program with Seattle Hall, http://www.radiocity.com). University for academic classes (Source: Levine, 2002, and http://www.pnc.org). (16) ROYAL BALLET OF THE ROYAL OPERA HOUSE, LONDON, U.K. (http://royaloperahouse.org.uk) (14) PITTSBURGH BALLET THEATRE, PITTSBURGH, PENNSYLVANIA, U.S. Royal Ballet Dancer’s Degree Course. 2001 marked the (http://www.pbt.org) start of a special relationship between the Royal Opera House and Middlesex University with a new work-based Healthy Dancer Strategies. Pittsburgh Ballet Theatre’s learning degree program. Dancers receive credit for their intensive summer program provides student dancers with professional experience, and the Royal Ballet pays a per- conditioning workouts, Pilates classes, flexibility and centage of the cost of education based on the dancer’s strength training, and aerobics to complement the pro- salary. gram’s classical ballet curriculum. The company also provides musculo-skeletal screenings and seminars on sport The Royal Ballet promotes artistic development through psychology, pointe shoes, and stress management. A its “ROH 2” program, which promotes and develops new strong partnership with University of Pittsburgh facilitates artists to encourage new audiences. The program works year-round programming seminars on health, nutrition, closely with the Royal Opera and the Royal Ballet to pro- and performance psychology and a physical therapist is duce innovative and original work and encourage collabo- on-site five days a week. There are also on-site classes for ration among the art forms of the Royal Opera House. aerobic conditioning and strength training. This provides opportunities for dancers to learn new skills and work in different capacities, thus contributing to The company also offers a pilot course in lighting and set career development (Source: Royal Ballet of the Royal design, taught by a Carnegie Mellon University graduate Opera House, http://www.royaloperahouse.org.uk). student. The aim, in part, is to make dancers better informed and effective collaborators when they become (17) SAN FRANCISCO BALLET, SAN FRANCISCO, professional (Source: Mindy Levine, 2002, and CALIFORNIA, U.S. (http://www.sfballet.org) http://www.pbt.org). Artist’s Reserve Fund. Each year, current dancers of the (15) RADIO CITY ROCKETTES, NEW YORK CITY, San Francisco Ballet receive a letter informing them of the U.S. (http://radiocity.com) opportunity to apply for funding for any educational or career-transition-related expense. A committee compris- Radio City Music Hall offers a Wellness Program to all its ing two dancers, the company’s general manager, the active Rockettes dancers, which includes pre-screening company’s chief financial officer, one union representative for injury and illness prevention and access to an athletic and one board member review the applications and make trainer, physical therapist, and orthopedist. “Future awards from the fund. There are no restrictions on the Kicks,” a program also available to all active Radio City amounts of awards, with each award determined on a Rockettes, focuses on training and education that can case-by-case basis. A counseling component of the appli- help create a smoother transition from dancing to future cation process requires the applicants to meet with

The aDvANCE Project PG 221 Once academic choices are made, faculty then meet three APPENDIX A times a year with the students for two years to assess progress in this area, to pursue work experiences that licensed psychologists and is intended to help them iden- match the student’s interests, and to explore opportuni- tify their particular skills and write their grant proposal to ties at universities (Source: Arts Education School, the fund. Some years, if there is money left over in the http://www.aes-tring.com). fund, career transition workshops (e.g., computer workshops) are held on the company premises on dancers’ (2) BOSTON BALLET SCHOOL, BOSTON, MA days off. The company finds that many of the dancers’ (http://www.bostonballet.org/school) applications to the Artist’s Reserve Fund are for tuition to the LEAP program at St. Mary’s College (see below.) Boston Ballet School’s Wellness Initiative teaches young dancers about the dangers of eating disorders and sub- San Francisco Ballet also instituted a “Surviving Your stance abuse, and helps them develop skills to manage Apprentice Year” seminar when it realized that some of their physical and mental well-being with the demands of the graduates of its ballet school were experiencing their dance training. The Wellness Initiative provides sem- adjustment problems during their apprentice year with inars on managing stress, body image, competition, and the company (in which they encountered larger classes, on combining dance, school and family responsibilities. It less technical feedback, and fewer opportunities to per- helps students identify alternative careers (besides profes- form) (Source: Levine, 2002, and http://sfballet.org). sional ballet) that may be suitable for them.

The Wellness Initiative also arranges and oversees pro II. DANCE SCHOOLS: TRANSITION PREPARATION bono nutritional counseling for students and provides PROGRAMS weekly on-site guidance sessions for upper-level students in the Boston Studio, and monthly guidance sessions for (1) ARTS EDUCATION SCHOOL, TRING, upper-level students in the Newton Studio (Source: Boston HERTFORDSHIRE, U.K. Ballet School, http://www.bostonballet.org/school). (http://www.aes-tring.com) (3) ESCUELA NACIONAL DE DANZA CLASICA Y The Arts Education School recognizes that a professional CONTEMPORANEA, MEXICO CITY, MEXICO dance career, no matter how successful or long running, (http://www.geocities.com/Vienna/1854/endcl1.html and will eventually finish and that retirement from dancing [email protected]) will happen to all. In preparation for this, once a dancer reaches the age of 16, the faculty begins to plan for the Licenciatura en Coreografia and Licenciatura en student’s second career (post-dance) and discuss various Docencia de la Danza Clasica. The Escuela Nacional de options that may be available. This will then facilitate the Danza Clasica y Contemporanea offers two undergraduate choice of field in academic “A” levels (advanced studies) programs, one in choreography (Licenciatura en to facilitate entry into the second career. For example, Coreografia) and the other in the teaching of classical someone who is strong in sciences will be encouraged to dance (Licenciatura en Docencia de la Danza Clasica). consider physiotherapy, or dance medicine, someone who The purposes of the program in choreography are to pro- is strong in English and history may be encouraged to vide a theoretical education related to the dancer’s work, consider dance journalism or dance history, someone to offer tools for creative activity, to systematize the cre- strong in math with good business sense may be encour- ation and staging processes and to widen the understand- aged to consider a second career as a dance administra- ing of artistic processes in general and those related to tor, company manager, or fundraiser, and someone strong dance in particular. The program for the teaching of clas- in the arts will be encouraged to consider costume design, sical dance preserves the tradition of classical dance and stage or lighting design. Of course, there are always those communicates its methodological principles. Upon com- students who want to continue dance-related activity and pletion of their training of four years, dancers are then will want to become teachers (they can take student able to combine their performing activities with teaching teacher exams at the Arts Education School and the practice (Source: see Mexico country profile above and school also produces a number of students who are well http://www.geocities.com/Vienna/1854/endcl1.html). trained to work in choreology and notation.

PG 222 Making Changes (4) THE HARID CONSERVATORY, BOCA RATON, DANCE CAREER TRANSITION PROGRAMS FLORIDA, U.S. (http://www.harid.edu)

The Harid Conservatory is a tuition-free professional train- social studies, art and dance history. High-school stu- ing school for gifted young dancers. Students obtain a dents, in grades 9–12, receive their academic classes at diploma from the Conservatory, but carry out all core aca- Bard High School Early College. Depending on their grade demic studies at a local high school during the morning level, students take 2 to 10 ballet classes per week. Class hours. Students receive physical education credit for sizes are small; most have less than 20 students, allow- dance, plus elective credits for their arts-related course ing individual attention. A nurturing environment is pro- work (dance history, music, and so on) (Source: Levine, vided for students, who will be prepared for whatever 2002, and http://www.harid.edu). choices they make in their professional dance or colle- giate careers. (5) MIAMI CITY BALLET SCHOOL, MIAMI, FLORIDA, U.S. (http://www.miamicityballet.org) “Kids Dance,” a performing troupe that made its debut in 1994, is made up entirely of students who currently Advanced ballet students at the Miami City Ballet School attend the New York City Public School for Dance. Its per- who are high-school juniors or seniors and have a formance programs—geared to families and younger scholastic grade point average of B at any Dade County audiences—help the students learn choreography and public school can apply for the Advanced Academic begin to develop professional performance skills. Internship Program (AAIP) at Miami Beach High school, which is located near the Ballet School. The AAIP is The Ballet Tech School, the NYC Public School for Dance, administered by the Division of Advanced Academic and Kids Dance are all part of Ballet Tech—a continuum Programs, Dade County Public School. The program of dance and academic training (Source: Ballet Tech, allows students to finish their academic classes at 11:40 http://www.ballettech.org/nycpsd.html). a.m. in order to study ballet at Miami City Ballet School. Ballet becomes an elective, which can be taken for one or (7) PROFESSIONAL CHILDREN’S SCHOOL, NEW two annual credits. Honor points are awarded for these YORK CITY, U.S. (http://www.pcs-nyc.org/) annual credits (Source: Levine, 2002, and http://www.miamicityballet.org). Professional Children’s School (PCS) provides a challenging education for young people working or studying for (6) NEW YORK CITY PUBLIC SCHOOL FOR DANCE, careers in the performing and visual arts. PCS has a U.S. (http://www.ballettech.org/nycpsd.html) strong partnership with School of American Ballet and specially tailors schedules to meet the training and per- The New York City Public School for Dance (NYCPSD) is forming needs of such students, who make up 20 to 25 a unique collaboration between the New York City percent of its student body. PCS makes its guidance serv- Department of Education and the Ballet Tech Foundation ices available to graduates for their lifetime (Source: and provides a tuition-free school offering a rigorous aca- Levine, 2002, and http://www.pcs-nyc.org/). demic curriculum paired with intensive dance training. It is the school’s mission to provide children who have been (8) THE ROCK SCHOOL, PHILADELPHIA, identified as talented and passionate about dance with PENNSYLVANIA, U.S. (http://www.therockschool.org/) professional-level training in classical ballet, along with a challenging and comprehensive college-preparatory cur- The Rock School is the official school of the Pennsylvania riculum. Ballet. Its mission states: “Known for encouraging quality academic education as well as for nurturing artistic excel- Students of the Ballet Tech School are invited to enroll at lence, The Rock School instills a quality of thought and NYCPSD upon entry into the fourth grade. The school action that enriches the life of the students regardless of includes grades 4–12 and students earn a New York State his or her ultimate career.” Accordingly, the Rock School Regents diploma upon graduation. Students in grades has sought different ways to provide both high quality 4–8 attend a series of 45-minute to 120-minute classes artistic and academic education. on-site in mathematics, science, English language arts,

The aDvANCE Project PG 223 designed for current and former professional dancers. The APPENDIX A program is offered through the School of Extended Education at Saint Mary’s College of California and can be The Rock School recently established a partnership with completed in two to four years of part-time study. LEAP’s the 21st Century Cyber Charter School, a charter school flexibility encourages dancers to pursue individual inter- licensed by the state of Pennsylvania with all the legal ests and explore different disciplines while obtaining a rights and privileges of public schools. The decision to comprehensive liberal arts education from a nationally work with a web-based learning system came after recognized college. exploring and abandoning a number of other approaches. In the search for a partner, the Rock School identified LEAP students earn college credit for professional dance three program priorities: high quality academics, a experience as well as for prior learning in other subject process for granting credit for dance, and dual enrollment areas, and the program can accommodate dancers enter- (enabling advanced dance students also to pursue college ing with different levels of academic experience. Classes courses and credits). The Rock Academic Program meet once a week and courses are 8-10 weeks in length. Alliance (RAPA) facilitates access to the charter school The program’s director consults with students to arrange and supplements the program with a full-time, on-site class times and locations that accommodate the dancers’ Dean of Students and academic instructors to provide stu- work, touring, and rehearsal calendars, as well as the pro- dents with support. Each of the students receives an fessional schedules of former dancers. Financial aid is Apple I-Book computer, and dormitories and dance stu- available and a strong support system offers encourage- dios are set up with wireless internet connection so that, ment and guidance. Dancers from the San Francisco in addition to working on academics during the designat- Ballet, New York City Ballet, American Ballet Theatre, ed morning time slot, students can work during rehearsal Joffrey Ballet, Dance Theatre of Harlem, Oakland Ballet breaks. and SMUiN Ballets/SF have participated in LEAP, as well as dancers from a variety of modern, jazz, ethnic dance, Through RAPA, all graduating students carry out a final, and musical theatre backgrounds. The program has CD-ROM project that includes photo and videotapes of recently expanded from the San Francisco Bay area to themselves dancing, a résumé, and excerpts from their include Los Angeles (Source: St. Mary’s College of community service work (outreach teaching and perform- California, School of Extended Education, LEAP, ing). Through this process, they construct a high-tech http://www.extendednews.com). marketing tool, along with a useful set of technological skills (Source: Levine, 2002, and http://www.the- (11) NATIONAL BALLET SCHOOL OF CANADA rockschool.org/). INTENSIVE DANCE PROGRAM, CANADA http://www.nbs-enb.on.ca/ (9) SCHOOL OF AMERICAN BALLET, NEW YORK CITY, U.S. (http://www.sab.org) The Intensive Dance Program is designed to guide young adults through the transition from student to professional School of American Ballet (which is the official school of dancer. Entry to the program is by audition only. the New York City Ballet) periodically offers seminar Applicants must be graduates of the NBS full-time series on such topics as résumé writing, applying to col- Professional Ballet/Academic Program or at an appropri- lege, stage makeup, taxes, real-world survival skills, per- ately advanced level of training. formance anxiety, stress and time management, and Acting 101 (Source: School of American Ballet, All Intensive Dance Program students are included in the http://www.sab.org). School’s Dancer Career Planning Program. This requires them to formulate a plan, with the assistance of the (10) ST. MARY’S COLLEGE OF CALIFORNIA, Program Manager, which outlines the auditions and other SCHOOL OF EXTENDED EDUCATION, U.S. types of job searches they intend to make. This includes (http://www.extendednews.com) the preparation of a curriculum vitae, travel plans and budget. Preparation of a video, under the supervision of “LEAP” (Liberal Education for Arts Professionals) is an the Program Manager, is also recommended. Students are innovative Bachelor of Arts in Performing Arts program also required to attend the on the MOVE Career day

PG 224 Making Changes organized by the Dancer Transition Resource Centre. DANCE CAREER TRANSITION PROGRAMS (Source: Dancer Transition Resource Centre.)

(12) SCHOOL OF THE TORONTO DANCE THEATRE, (2) AMERICAN FEDERATION OF LABOR AND CANADA http://www.schooloftdt.org/files/stdt.html CONGRESS OF INDUSTRIAL ORGANIZATIONS, U.S. (www.unionplus.org/scholarships) The School of Toronto Dance Theatre offers a three-year professional program in which students are involved in The American Federation of Labor and Congress of intensive preparation for the life of a professional contem- Industrial Organization (AFL-CIO) is a voluntary federation porary dancer. Admission is limited to students with of 64 national and international labor unions including Grade 12 or equivalent or mature student status and with artists such as musicians, painters, and dancers. AFL-CIO at least one year of serious dance training. The school is members participating in any “Union Plus” program, their affiliated with Toronto Dance Theatre, one of Canada’s spouses and their dependent children (foster children, foremost contemporary dance companies. step children, and any other child for whom the individual member provides greater than 50 percent support) In addition to training in contemporary dance traditions, can apply for a Union Plus Scholarship to begin or contin- techniques and history, students also must take a course ue secondary education (Source: AFL-CIO, www.union- in practical skills needed for a career in dance. This plus.org/scholarships). includes practical experience in résumé writing, financial management and writing grant applications. Parallel (3) AMERICAN GUILD OF MUSICAL ARTISTS, U.S. careers are also examined and third-year students are (http://www.musicalartists.org) required to attend the on the MOVE Career Day organized by the Dancer Transition Resource Centre. (Source: The American Guild of Musical Artists (AGMA) is a labor Dancer Transition Resource Centre.) union affiliated with the AFL-CIO and is a branch of Associated Actors and Artistes of America. The AGMA Emergency Relief Fund provides emergency assistance to III. SERVICE, LABOR, AND MEMBERSHIP AGMA members. Although no funding is available direct- ORGANIZATIONS: TRANSITION EFFORTS ly for transition and education purposes, AGMA makes an annual gift to the transition organization, Career Transition (1) ACTORS’ FUND OF AMERICA, U.S. For Dancers, and supports that organization’s annual (http://www.actorsfund.org/) fundraising gala. AGMA also has a Dancer’s Committee, which helps negotiate dancers’ contracts and acts as a The Actors’ Fund of America is a national, non-profit problem-solving group, providing career transition infor- organization serving all entertainment professionals mation to AGMA companies. through comprehensive services and programs. In addition to providing emergency grants for essentials such as AGMA contracts with dance companies in the U.S. gener- food, rent and medical care, the Actors’ Fund provides ally require exit pay for dancers. Although the details of counseling, substance abuse and mental health services, the exit-pay agreement vary among contracts, most senior and disabled care, nursing home and assisted liv- dancers who are leaving AGMA companies are paid a per- ing care, an AIDS Initiative, the Actors’ Work Program, the centage of their weekly salary for each year of employ- Phyllis Newman Women’s Health Initiative, and the ment with the company (under a certain maximum num- Artists’ Health Insurance Resource Center. ber of years.) Contract details can be found in the AGMA document titled “extract of dance companies’ contracts.” The Actors’ Work Program offers individual career coun- Dance companies in the U.S. with AGMA contracts seling, workshops, tuition grants and scholarships for include the Atlanta Ballet, Alvin Ailey American Dance entertainment union members nationwide, and provides Theater, Ballet Hispanico, Ballet Tech, Ballet San Jose, job listings throughout the nation (Source: Actors’ Fund of Boston Ballet, the Cincinnati Ballet, Dance Theater of America, http://www.actorsfund.org/). Harlem, the Houston Ballet, the Joffrey Ballet of Chicago, Martha Graham Center of Contemporary Dance, Merce Cunningham Dance Company, Metropolitan Opera, the

The aDvANCE Project PG 225 fee at source, and matches that amount. Both sums go APPENDIX A into the member’s RRSP (Source: Canadian Actors’ Equity Association, http://www.caea.com). Milwaukee Ballet, New York City Ballet, Pacific Northwest Ballet Association, Pittsburgh Ballet Theater, (6) CITY CENTER, “STAGE TO CLASSROOM,” NEW Pennsylvania Ballet Association, and San Francisco Ballet YORK CITY, U.S. Association (Source: American Guild of Musical Artists, (http://www.citycenter.org/education/s2c.cfm) http://www.musicalartists.org). City Center’s educational outreach programming includes (4) BRITISH ACTORS’ EQUITY ASSOCIATION, U.K. professional development to provide ongoing education (http://www.firstact.co.uk/equitypension/master.htm) and career counseling for public school teachers, teaching artists, and “in transition” artists wishing to embark on Introduced in 1997, the Equity Pension Scheme was new career paths. Its “Stage to Classroom” (S2C) program devised by First Act Insurance in response to a mandate trains dancers for a second or complementary career in by British Actors’ Equity Association. The scheme offers a public education. S2C coursework is followed by a series unique personal pension plan for members of the enter- of mentoring opportunities for trainees to partner with tainment profession. It is administered by First Act established teachers in the classroom. City Center also Insurance with fund management conducted by the man- employs some of its S2C graduates as teaching artists agers of Norwich Union. Current legislation allows and provides job networking to place them in schools dancers to take retirement benefits from a personal pen- (Source: City Center, http://www.citycenter.org/educa- sion as early as age 35. Only contributions made from tion/s2c.cfm). dance-related earnings qualify for this option (Source: First Act Insurance, http://www.firstact.co.uk/equitypen- (7) COUNCIL FOR DANCE EDUCATION AND sion/master.htm). TRAINING, LONDON, U.K. (http://www.cdet.org.uk)

(5) CANADIAN ACTORS’ EQUITY ASSOCIATION, Founded in 1979, the Council for Dance Education and CANADA (http://www.caea.com) Training (CDET) is a non-profit membership organization. Its members include vocational dance training institu- Professional Development Fund Policy. Canadian Actors’ tions, teacher organizations, industry bodies and individ- Equity Association (CAEA) supports the professionnel uals with a range of expertise in dance, education and development of its members. Professional development is related areas. CDET offers a number of programs for defined as anything that increases the employability of dancers in transition. equity artists working in theater, opera, and dance and includes improvement of existing skills or creation of new Continuing Professional Development, the London skills. Regional Partnership. This program seeks to help artists navigate the organizations that provide services such as CAEA Insurance Plan. This plan provides rehabilitation career counseling, phone and email-based advice, artists benefits for members who sustain injuries. Under this networks, course listings, conferences and seminars, on- plan, Cigna insurance company will pay reasonable and line learning materials, newsletters and research facilities. necessary expenses incurred, up to a limit of $5,000 for special training for an occupation in which the member West End Artists’ Forum. This program gives commercial was not engaged before the injuries. Expenses for training dancers the opportunity to meet on a regular basis for dis- are provided only within two years from the date of the cussion about training needs and to partake in related accident and no payment is made for ordinary living, trav- practice sessions. The aim of the Forum is to respond to eling, or clothing expenses. artists’ training needs, to enrich available communication networks, to encourage the development of new networks Equity Registered Retirement Savings Plan. Equity mem- in the dance sector, and to encourage the artist’s creative bers benefit from participation in a group Registered development. Each session encourages the artists to iden- Retirement Savings Plan (RRSP.) Under most equity con- tify and analyze their own training needs and providing tracts, the engager deducts three percent of a members’ the requisite support and confidence. Topics include

PG 226 Making Changes tax/accounting sessions, continuing training and care of DANCE CAREER TRANSITION PROGRAMS voice, injury prevention seminars, careers advice and retraining choices. (10) MARYMOUNT MANHATTAN COLLEGE, Vocational Seminars. These are a series of seven, three- SCHOOLS OF CONTINUING EDUCATION, NEW act, networking seminars in which leading dancers, cho- YORK CITY, U.S. (http://marymount.mmm.edu) reographers, and teachers meet to discuss issues in vocational dance education and training (Source: Source: Since 2001, Marymount Manhattan College, School of Council for Dance Education and Training, Continuing Education, offers dancers the opportunity to http://www.cdet.org.uk). receive free instruction in their choice of computer courses at the College’s Manhattan campus. (8) DANCE UK, LONDON, U.K. (http://www.danceuk.org) (11) GENOSSENCHAFT DEUTSCHER BÜHNENANGEHÖRIGER, HAMBURG, GERMANY Dance UK is a service organization with various programs (http://www.buehnengenossenschaft.de) designed to assist dancers in transition. The “Healthier Dancer” program promotes the health and well-being of Genossenchaft Deutscher Bühnenangehöriger (the dance dancers through working with medical practitioners, division of Germany’s stage association) represents the research efforts, conducting educational events in dance interests of theatre dancers, including legal issues, wages, schools, companies and agencies, and representing the and assistance in transition of dancers. The organization U.K. at international conferences. Dance UK also offers publishes a yearbook, Deutsches Bühnen-Jahrbuch, and professional development opportunities through peer a monthly book, Bühnengenossenschaft (Source: our group networking among dance managers, independent country profile for Germany, located above, and dancers, artists, choreographers, and small companies http://www.buehnengenossenschaft.de). (Source: Dance UK, http://www.danceuk.org). (12) THE PLACE, LONDON, U.K. (http://www.thep- (9) DANCE/USA ON TOUR, U.S. lace.org.uk) (http://www.danceusa.org/meetings/ontour.htm) The Place is a dance service organization with various Dance/USA, the national service organization for profes- programs that can assist the dancer in transition includ- sional dance, seeks to address the needs, concerns, and ing a Pilates training course and the Artist Development interests of dance professionals. “Dance/USA on Tour” is program, which provides advice on starting a dance com- a series of regional professional development seminars. pany; help with overall career planning; information about Dance/USA brings in experts in arts administration, com- choreographic research or dance film opportunities; munity development and fund-raising to major centers for advice on funding; and a newsletter. Independent dancers dance in North America. The professional development in the U.K. rely heavily on The Place for services (Source: seminars are specifically designed for independent chore- The Place, http://www.theplace.org.uk). ographers and small- to mid-size organizations around the country. Recent seminar topics have included negotiating (13) SWISS STAGE ARTISTS GUILD, ZURICH, contracts, developing individual donors, marketing with SWITZERLAND (http://www.sbkv.com/) corporate connections, and organizational infrastructure. Dancers can participate in these seminars if they are The Swiss Stage Artists’ Guild (Schweizerischer interested in moving into a new field or working in anoth- Bühnenkünstlerverband, or SBKV) is the largest profes- er capacity (Source: Dance/USA, sional organization for stage and screen artists in http://www.danceusa.org/meetings/ontour.htm). Switzerland. The purpose of the association is to safe- guard and support the artistic, economic and social interests of its members. The SBKV gives professional advice, provides legal aid and protection in labor and social insurance disputes; it offers a relief fund for those in need, a pension plan (CAST—Charles Apothéloz Foundation, a

The aDvANCE Project PG 227 of these pensions. The annual budget for the pension pro- APPENDIX A gram is € 9.6 million, with the full pension paying out € 1,032.18 per month and the partial pension paying retirement fund for freelance artists), a group health insur- € 516.09 (Source: Canada Council for the Arts, April ance plan, a retraining fund (advice and assistance in 2003). changes of career), and counseling on protection of performance and performing rights (Swissperform, SIS). (2) AOSDÁNA PROGRAM, IRELAND (http://www.artscouncil.ie/aosdana) The SBKV recognizes the international ‘passport’ for dancers, instituted by the European branch of the Prominent artists who have made an outstanding contri- Federation of International Actors (FIA—the worldwide bution to the culture of Ireland in the field of visual arts, umbrella organization of artists’ unions and guilds), a literature or music can be inducted into the Aosdána pro- mutual agreement between unions to give dancers con- gram. This gives them the right to pay into a special pen- tractual and legal help when performing in different coun- sion fund, with their contributions matched by the tries. Aosdána program. Pensions paid to artists are based on the number of years they have subscribed to the scheme. In 1993, SBKV and the Swiss Performing Artists The artists are also eligible to receive the “Cnuas,” an Foundation SIS created an internal foundation, the Swiss annual sum of € 10,150 payable for up to five years and Foundation for the Retraining of Stage Artists, with a renewable at the end of this term. The Aosdána program starting capital of CHF 100,000 (U.S. $80,250). cannot have more than 200 members, and about 100 of Support takes the form of counseling, loans or other sup- these members receive the “Cnuas” (Source: Canada port benefits for a maximum two years. Any member can Council for the Arts, 2003, and apply for assistance, but must have had a stage career of http://www.artscouncil.ie/aosdana). at least 7–10 years. Initially, the former dancer will be helped to gain access to official government programs (3) ASSOCIATION POUR LA FORMATION DANS LES such as accident insurance, for which he or she might be ACTIVITÉS DU SPECTACLE, FRANCE qualified. The SBKV has a clear definition of “profession- (http://www.afdas.com) al dancer,” as a person who has completed an official training program in dance, or who has worked in dance The Association pour la formation dans les activités (L’AF- for a living for several years (Source: country profile for DAS), or Association for Performance-Related Career Switzerland and http://www.sbkv.com/). Development, manages training programs for performing artists. In addition, it offers a long-term plan for continuing education, the CIF (congé individuel de formation), IV. GOVERNMENT INITIATIVES FOR FACILITATING that lasts for one year, is full time, and is available to all DANCERS TRANSITION salaried employees (Source: country profile of France located above, and http://www.afdas.com/). (1) ACT ON THE PENSIONS OF ARTISTS AND SOME PARTICULAR GROUP OF SHORT-TERM (4) EMPLOYMENT INSURANCE, CANADA WORKERS, FINLAND (http://canada.gc.ca/)

This program allows self-employed artists in Finland to In Canada, workers with unstable employment situations pay their pension contributions at a reduced rate, as if have their own specialized assistance programs. For they were employees rather than self-employed individu- example, self-employed persons engaged in fishing, have als, by matching the artists’ contributions to the state access to Employment Insurance benefits, as long as they pension fund. There is also an artists’ supplementary pen- earn a minimum income of between $2,500 and $4,200 sion system for artists over 60 years of age. The govern- from their activities. If qualified, they may receive 26 ment distributes about thirty-five supplementary artists’ weeks of benefits within a period of 37–38 weeks pensions each year in recognition of the achievements of (Source: Canada Council for the Arts, 2003, and particular creative or performing artists. Financial need is http://canada.gc.ca/). taken into consideration. There are currently about 1,000

PG 228 Making Changes (5) THE NATIONAL ARTS TRAINING DANCE CAREER TRANSITION PROGRAMS CONTRIBUTION PROGRAM, CANADA (http://www.canadianheritage.gc.ca/progs/pnfsa- natcp/index_e.cfm) (8) KIGAS, CANTONAL DEPARTMENTS OF INDUSTRY, BUSINESS AND LABOR, SWITZERLAND The National Arts Training Contribution Program (NATCP) supports independent, non-profit, incorporated, Canadian The Cantonal Department of Industry, Business and Labor organizations which train Canadians for professional (KIGA), has offices located in each major Swiss popula- national/international artistic careers. The program pro- tion center. They serve as employment facilitators, aiming vides support on a multi-year or annual basis for the to get people off the unemployment list. Governmental ongoing operational activities of the organizations’ profes- programs are available to pay for re-schooling or retrain- sional program. The funding is for activities that are not ing of people for a more “employable” occupation. Some funded as provincial post-secondary education activities dancers have taken advantage of this, and it is the pri- that do not result in the granting of a post-secondary qual- mary transition process in Switzerland. The dancers tran- ification such as a diploma, certificate or degree. sition centers in Switzerland turn first to these government programs to facilitate a dancer’s transition, before In 2002–2004, NATCP provided 35 arts training organi- releasing their own limited funds (Source: see country zations worth more than $15 million in grants. Retraining profile of Switzerland, located above). and subsistence grants to dancers are funded by NATCP and are awarded through Canada’s Dancer Transition (9) KUNSTLERSOZIALKASSE (ARTISTS’ SOCIAL Resource Centre. SECURITY PROGRAM), GERMANY

(6) GUARANTEED INCOME PROGRAM, SWEDEN The Artists’ Social Security Program seeks to offer self- employed artists the same degree of social protection as Sweden allocated € 1.9 million to income guarantees in is provided to employees. The fund covers health insur- 2001, amounting to about 7 percent of the government’s ance and old age pensions, but not unemployment bene- allowances and grants to artists. Approximately 150 fits. The artist pays 17.7 percent of his or her income into artists received funding through this program, over half of the fund, an amount that is matched by the Artists’ Social whom were writers and visual artists. The annual amount Security Department. Of this 17.7 percent, 9.6 percent is provided by this fund is about € 20,000 (Source: Canada invested into a pension fund, and the remaining 7.1 per- Council for the Arts, 2003). cent goes to a separate medical insurance program. An artist has to earn at least 3,926 per year to be accepted (7) INCOME PROVISIONS FOR ARTISTS ACT, THE into this fund, though this minimum-income condition is NETHERLANDSwaived for artists who are just entering the workforce (http://www.minocw.nl/english_oud/income.htm) (Source: Canada Council for the Arts, 2003).

The Income Provisions for Artists Act (Wet (10) TRANSITIONAL AND FINAL PROVISIONS OF Inkomensvoorziening Kunstenaars, WIK) is a new law THE PROTECTION AND DEVELOPMENT OF designed to support artists in launching their careers or to CULTURE ACT, BULGARIA foster earnings from their professional endeavors. Artists who have just graduated but have not yet found work are The Transitional and Final Provisions of the Protection and eligible to apply for support benefits for up to four years, Development of Culture Act gives artists access to enabling them to build up a career gradually without the employment insurance benefits if they have worked four pressure of looking for non-artistic work in order to survive of the past twelve months as self-employed persons (Source: Ministry of Education, Culture and Science, (Source: Canada Council for the Arts, 2003). Information Department, The Netherlands).

The aDvANCE Project PG 229 (2) DANCERS’ PENSION FUND, U.K. APPENDIX A The Dancers’ Pension Fund is available to dancers who (11) UNEMPLOYMENT ASSISTANCE ACT, are employed by the larger companies (the Royal Ballet, COMMUNITY EMPLOYMENT SCHEMES, IRELAND English National Ballet, Northern Ballet Theatre, Birmingham Royal Ballet, Scottish Ballet, Rambert, The Unemployment Assistance Act allows Irish artists to Adzido, and Siobhan Davies Dance Company). Each par- receive financial assistance if their incomes fall below the ticipating company makes a contribution of approximate- welfare threshold. In practice, this program tends to ly 5.5 percent, and the dancer makes a contribution of become a supplement to an artist’s income. Recent approximately 4 percent, of the dancer’s salary. The fund changes have limited the time an artist can spend in this allows dancers to retire after they reach 35 years of age program to six months for those over 25 years of age and and they can continue paying into the scheme if they twelve months for those under 25 years of age. After this become freelance performers, although they no longer get period, artists are expected to retrain if they have not an employer’s contribution. Although Dancers’ Pension found work. Ireland also has Community Employment Fund is not a public, government-run program, the gov- Schemes, which are training and employment programs ernment-operated Arts Council of England was involved in that allow artists to work on community arts projects for its creation and makes it a condition of funding that these about twenty hours per week while also having access to larger companies offer the scheme to their dancers training opportunities. Recent changes in the social poli- (Source: see the country profile of England, above). cy system have restricted participation to those 25 years of age and older (Source: Canada Council for the Arts, (3) DANCERS’ TRUST FUND, U.S. 2003). The Dancer’s Trust Fund is an independent organization that provides scholarship grants to former dancers of the V. OTHER PROGRAMS THAT FACILITATE THE Pittsburgh Ballet Theatre. Dancers are eligible for up to TRANSITION OF DANCERS $3,000 in scholarship money within three years of retirement if they have danced with the Pittsburgh Ballet (1) BROWN UNIVERSITY RESUMED Theater for a minimum of three years (Source: Dancer’s UNDERGRADUATE EDUCATION PROGRAM, Trust Fund). PROVIDENCE, RHODE ISLAND, U.S. (http://www.brown.edu/Students/RUSA/) (4) MILLER HEALTH CARE INSTITUTE FOR PERFORMING ARTISTS, U.S. (http://www.millerinsti- In 1972, the Resumed Undergraduate Education (RUE) tute.org/index.html) Program was initiated as an experiment to encourage older candidates to apply to Brown University. RUE stu- The Miller Health Care Institute for Performing Artists is dents are fully matriculated candidates for the baccalau- the largest and most comprehensive program of health reate degree. All undergraduate courses are available to care for performing artists in the country. It provides gen- them and, once admitted, they follow the regular registra- eral and specialized care for musicians, actors, dancers, tion procedures of Brown University. RUE students are and singers and for those in the allied professions includ- different from other Brown students only in that they may ing teachers, coaches, designers, writers, directors, and elect to carry a reduced course load instead of the full production crews. The Miller Institute cooperates with course load required of other students. some union insurance plans including Actor’s Equity Association (AEA) and Screen Actors Guild (SAG). There A separate RUE admission committee makes admission are at least 20 other performing arts medicine clinics in decisions based primarily on an appraisal of the experi- the U.S. alone and more internationally (Source: ence, maturity, commitment, and future academic poten- http://www.millerinstitute.org/index.html). tial of applicants. This means that candidates can be judged in terms of their own ability and qualifications for Brown University and are not considered with the applicant pool of students of traditional, younger entering age

PG 230 Making Changes (5) PERFORMING ARTS LODGE (PAL), CANADA DANCE CAREER TRANSITION PROGRAMS (http://www.palcanada.org/)

Performing Arts Lodges of Canada (PAL) is a registered charity dedicated to providing affordable housing and care for senior members of Canada’s entertainment industry. Its first residence is in Toronto, with others under development in Stratford and Vancouver. PAL also maintains a group called “Supporting Cast,” a volunteer team of care- givers (Source: Canada Council for the Arts, and http://www.palcanada.org/).

(6) THE AL AND MALKA GREEN HEALTH CENTRE, CANADA (http://www.ahcf.ca/)

The Al and Malka Green Health Centre at Toronto Western Hospital, a university-affiliated hospital, offers both conventional and complementary alternative healthcare to professional creative and performing artists, and to students and staff at post-secondary arts institutions. Created after extensive consultation with artists in all disciplines, it is a multi-disciplinary, integrated health care facility dedicated to creative and performing artists. It includes a fully functional dance studio with ceiling- mounted video cameras for diagnosis, a music studio, an office for mental health consultations and 5 clinical offices. The Centre’s mandate includes research, education, and outreach to the arts community (Source: Dancer Transition Resource Centre, Canada).

The aDvANCE Project PG 231 questionnaire was to be returned to Macquarie University in a reply-paid envelope. Another 90 former dancers on a list held by the Australian Ballet were accessed in a similar way, with the full cooperation of that company. All Appendix B: together, a total of 1,412 surveys were sent out.172

Survey Returns. Of the 1,412 surveys sent out, 243 SURVEY METHODS usable returns (17.2 percent) were received. There were 66 bad addresses (4.7 percent). Of the usable returns, 35 percent are current dancers and 65 percent are for- FOR AUSTRALIA, mer dancers. Overall, 70 percent of respondents are female, 30 percent are male. SWITZERLAND II. SWITZERLAND SURVEY METHODS (prepared by AND THE UNITED Adrian Schriel) The easier sources of information were the established, fully subsidized state theatre companies, which all have STATES a general contract with the Schweizerischer Bühnenkünstlerverband SBKV (the Swiss Stage Artists Guild). Dance company representatives agreed to coop- erate and informed their ensemble members of the impending questionnaires, and facilitated direct meeting with the dancers. Interviews were conducted with dancers at the St. Gallen, Bern, Basel and Geneva companies. I. AUSTRALIA SURVEY METHODS (Prepared by David Throsby) Personal contact resulted in an 85-percent return from those companies. Greater difficulties were encountered in Sources of Dancer Population Lists. In this survey, we dealing with other companies and members of the inde- were able to take advantage of the fact that an earlier pendent dance scene. The problems were dealt with survey of individual artists undertaken by the researchers through telephone conversations with the managers of had compiled an extensive list of current dancers, with the smaller independent dance companies, and with the contact details. This list was compiled from various representatives of the numerous, often competing, dance sources, including Ausdance (both national and various associations. With the addresses thereby obtained, ques- state branches), Australian Performing Arts Directory, tionnaires were sent to independent dancers. Bangarra Dance Theatre, Media Entertainment and Arts Alliance, Tasdance, and the Black Book. We combined In total, 766 questionnaires were sent out. Of those, this consolidated list with newly compiled lists of former there were 368 returned questionnaires, consisting of: dancers, plus some further names of current dancers who had not been included on the earlier list. Altogether, Former dancers: 153 a total of 979 names were identified by these means. Current dancers: 202 Invalidated questionnaires: 13* In addition, a further 343 dancers and former dancers were on lists held by the Australia Council. These lists 172 Details of the survey procedure: A covering letter based on the standard letter were not available to the project because of privacy con- developed for the three survey countries was prepared, with specific wording to suit cerns, but the Australia Council generously undertook to the Australian case. After final development of the questionnaire, the questionnaire plus the covering letter were submitted to the Macquarie University Ethics Committee mail the questionnaire to these 343 dancers and former for approval, which was provided. The questionnaire was printed as an A5-sized booklet. The mail-out contained the questionnaire, the covering letter, and a reply- dancers, along with an explanation that the completed paid envelope.

The aDvANCE Project PG 233 centages by company is available from the authors for the APPENDIX B interested reader). The national dance service organization, Dance/USA, and the U.S. Career Transition For There were 219 German-language returned question- Dancers organization were especially helpful in compiling naires, consisting of: the list. The breakdown by dance field of these 4,617 dancers was as follows: Former dancers: 115 Current dancers: 93 Dance Field Number Percentage of Total Invalidated questionnaires: 11* Ballet/Classical 535 11.6 Modern/Contemporary 269 5.8 There were 89 French-language returned questionnaires, Commercial/Show 405 8.8 consisting of: Folk/Indigenous 49 1.1 Unknown field 3359 72.8 Former dancers: 24 Current dancers: 64 Of these 4,617 dancers, the majority had addresses in Invalidated questionnaires: 1* California, New York, and to a lesser extent, Massachusetts, New Jersey and Texas. There were 60 English-language returned questionnaires, consisting of: Random Sample. A random sample of 1,000 dancers was created from the list of 4,617 dancers. The random Former dancers: 14 sample was divided as follows: Current dancers: 45 Invalidated questionnaires: 1* Number Percentage of Total Current dancers 98 9.8 * Questionnaires were invalidated for the following rea- Former dancers 374 37.4 sons: (a) it was clear that the person was not and had Unknown category 528 52.8 never been a professional dancer, (b) the person changed Total 1000 100.0 the wording of questions, or (c) the person answered the questions for both current dancers and former Of this sample, we obtained 220 (22 percent) usable dancers.173 returns, and of this sub-sample, 77.7 percent were former dancers and 22.3 percent were current dancers. III. U.S. SURVEY METHODS Additional comments were offered on approximately one- Complete List. We compiled a list of 4,617 dancers from fourth of the questionnaires. the following organizations: the U.S. Career Transition For Dancers organization; unions (Actors’ Equity Association [AEA] and the American Guild of Musical Artists [AGMA]); dance conservatories and professional training schools (Juilliard, Boston Conservatory), and dance companies (American Ballet Theatre (ABT), New York City Ballet (NYCB), José Limón Dance Company, Mark Morris Dance Company, Pittsburgh Ballet, and so on; a full list with per-

173 Contact with former dancers was made possible by two very helpful organizations: the Swiss Ballet Teachers' Association (SBLV) and the alumni group of the Basel Ballett. Other associations that provided assistance to the project are the following: Swiss Performing Artists' Guild (SBKV), Zürich; Swiss Federation for Artistic Dance (SDT), Bern; Special Interest Group for Dance Zürich (IGTZ); Special Interest Group for Dance Basel (IGTB); Special Interest Group for Dance St. Gallen and Appenzell (IGST&A); Swiss Professional Association for Dance and Gymnastics (SBTG - Ballett), Zürich; Swiss Professional Association for Dance and Gymnastics (SBTG - Contemporary Dance), Zürich;, Swiss Ballet Teachers' Association (SBLV), Zürich; Dance Activist Platform, Bern; Swiss Association for Dancers and Choreographers (SVTC), Geneva; and Association of Contemporary Dance, Geneva.

PG 234 Making Changes Appendix C:

SURVEY QUESTIONNAIRE AND RESPONSES: RAW DATA FROM AUSTRALIA, SWITZERLAND AND THE UNITED STATES

he following is the United States version of our survey questionnaire followed by dancers’ T responses to the questionnaire, presented in their original formats. Interested readers may request copies of our Australian survey questionnaire and the French and German versions of our Swiss survey questionnaire.

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175 The margin for error in the aDvANCE data is plus or minus 5%.

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